It's hard to believe we're only one night away from learning which Dancing With the Stars couple will be crowned this year's mirrorball champions!
Season 25 finalists Jordan Fisher & Lindsay Arnold, Frankie Muniz & Witney Carson, Drew Scott & Emma Slater and Lindsey Stirling & Mark Ballas will take the stage for their final performances during a two-night finale special on ABC.
But first, Et's breaking down everything we can expect to see in the ballroom!
More: 'Dancing With the Stars' Season 25, Semifinals Recap: Best Lifts, Kicks, Tricks and Flips!
How does the two-part finale work?
Over the course of two nights, the remaining couples will perform four dances: Redemption, Freestyle, Repeat Performance and 24-Hour Fusion Challenge.
One couple will be eliminated on Monday night, and the three pairs that are left will advance to Tuesday's show. The season 25 champion of Dancing With the Stars will then be revealed at the end of Tuesday's show, airing live from The Grove...
Season 25 finalists Jordan Fisher & Lindsay Arnold, Frankie Muniz & Witney Carson, Drew Scott & Emma Slater and Lindsey Stirling & Mark Ballas will take the stage for their final performances during a two-night finale special on ABC.
But first, Et's breaking down everything we can expect to see in the ballroom!
More: 'Dancing With the Stars' Season 25, Semifinals Recap: Best Lifts, Kicks, Tricks and Flips!
How does the two-part finale work?
Over the course of two nights, the remaining couples will perform four dances: Redemption, Freestyle, Repeat Performance and 24-Hour Fusion Challenge.
One couple will be eliminated on Monday night, and the three pairs that are left will advance to Tuesday's show. The season 25 champion of Dancing With the Stars will then be revealed at the end of Tuesday's show, airing live from The Grove...
- 11/20/2017
- Entertainment Tonight
Well, another year spent in the company of classic cinema curated by the TCM Classic Film Festival has come and gone, leaving me with several great experiences watching favorite films and ones I’d never before seen, some already cherished memories, and the usual weary bag of bones for a body in the aftermath. (I usually come down with something when I decompress post-festival and get back to the working week, and this year has been no exception.) There have now been seven TCMFFs since its inaugural run in 2010. I’ve been lucky enough to attend them all, and this time around I saw more movies than I ever have before—18 features zipping from auditorium to queue and back to auditorium like a gerbil in a tube maze. In order to make sure I got in to see everything I wanted to see, I had to make sure I was...
- 5/7/2016
- by Dennis Cozzalio
- Trailers from Hell
I live in Los Angeles, and my residency here means that a lot of great film programming-- revival screenings, advance looks at upcoming releases and vital, fascinating glimpses at unheralded, unexpected cinema from around the world—is available to me on a week-by-week basis. But I’ve never been to Cannes. Toronto, Tribeca, New York, Venice, Berlin, Sundance, SXSW, these festivals are all events that I have yet to be lucky enough to attend, and I can reasonably expect that it’s probably going to stay that way for the foreseeable future. I never attended a film festival of any kind until I made my way to the outskirts of the Mojave Desert for the Lone Pine Film Festival in 2006, which was its own kind of grand adventure, even if it wasn’t exactly one for bumping shoulders with critics, stars and fanatics on the French Riviera.
But since 2010 there...
But since 2010 there...
- 4/24/2016
- by Dennis Cozzalio
- Trailers from Hell
(Anthony Mann, 1947, Blue Dolphin, PG)
Anthony Mann (1906-67) is best known for 11 major Hollywood westerns made in the 1950s and two European epics (El Cid, The Fall of the Roman Empire) in the 60s. But in the 40s he directed a succession of noir movies, the second being Railroaded, made by B-feature specialists Prc (Producers Releasing Corporation), whose shooting schedules were rarely more than a week. Shot in high-contrast black and white, the film begins with an economically staged heist at an illegal gambling joint that goes wrong when a cop is killed and an innocent man is framed for the murder. The handsome hero's a dull guy. More interestingly, the killer (John Ireland) is a brutal fetishist who rubs perfume on his bullets, strokes his gun and abuses his drunken moll. Hardboiled screenwriter John C Higgins wrote five noir movies for Mann.
This is the first film in a new series,...
Anthony Mann (1906-67) is best known for 11 major Hollywood westerns made in the 1950s and two European epics (El Cid, The Fall of the Roman Empire) in the 60s. But in the 40s he directed a succession of noir movies, the second being Railroaded, made by B-feature specialists Prc (Producers Releasing Corporation), whose shooting schedules were rarely more than a week. Shot in high-contrast black and white, the film begins with an economically staged heist at an illegal gambling joint that goes wrong when a cop is killed and an innocent man is framed for the murder. The handsome hero's a dull guy. More interestingly, the killer (John Ireland) is a brutal fetishist who rubs perfume on his bullets, strokes his gun and abuses his drunken moll. Hardboiled screenwriter John C Higgins wrote five noir movies for Mann.
This is the first film in a new series,...
- 12/30/2012
- by Philip French
- The Guardian - Film News
For me, New Year's Eve will be forever associated with the neighbourhood parties of my childhood, with middle-aged women smelling of gin planting sloppy kisses that left my cheeks smeared with lipstick. But I also look back to a seasonal feel-weird movie I saw for the one and only time in 1947. Called Repeat Performance, it's haunted me ever since. It begins with Joan Leslie murdering her worthless husband (Louis Hayward, a specialist in sneering villains) on New Year's Eve, and wishing on the stroke of midnight that she could relive a troublesome year. Suddenly she finds herself back on the previous New Year's Day with the chance to direct the next 365 days towards a different climax. A friend of hers, a troubled poet played by Richard Basehart, intuits her problem and writes a poem for her with the line: "How can you walk through snow and not leave a footprint?...
- 12/11/2011
- by Philip French
- The Guardian - Film News
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