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“Being young is so painful…its almost too much to feel”

Written and directed by Richard Tanne, here’s the gut-wrenching preview for Chemical Hearts starring Lili Reinhart, Austin Abrams, Sarah Jones, Adhir Kalyan, Kara Young, Coral Peña, C.J. Hoff.

The movie debuts on Amazon Prime Video August 21st.

The film is based on the book “Our Chemical Hearts” by Krystal Sutherland.

Seventeen-year-old Henry Page (Austin Abrams) has never been in love. He fancies himself a romantic, but the kind of once-in-a-lifetime love he’s been hoping for just hasn’t happened yet. Then, on the first day of senior year, he meets transfer student Grace Town (Lili Reinhart) and it seems all that is about to change. When Grace and Henry are chosen to co-edit the school paper, he is immediately drawn to the mysterious newcomer. As he learns the heartbreaking secret that has changed her life, he finds...

It’s a sad time at the Hattiesburg Zoo in Mississippi.

On Monday, staff at the small zoo announced one of their twin Sumatran tigers, Cinta, passed away on Sunday afternoon from a sudden illness.

“We are devastated and heartbroken from the loss of one of our family,” Stephen Taylor, the zoo’s animal care manager, said in a statement. “Our team is diligent in providing the best quality for all of our animals and are highly trained to do so. Deaths are a part of the cycle of life, and times of loss like this are never easy. Our...

A young boy was brought to parties where he was allegedly raped multiple times by a man in an animal costume, in a case the Pennsylvania attorney general called “horrendous,” People confirms.

What’s more, authorities believe there may be other victims, according to Phily.com.

Kenneth Fenske was arrested Friday — the most recent in a string of arrests, made since June, of an alleged criminal network, Pennsylvania Attorney General Josh Shapiro said in a statement.

Fenske and four others are facing charges in connection with allegedly abusing the boy, who prosecutors say was just 9 years old when the assaults began.

A total of 145 scores were recently announced as being eligible for this year’s Academy Award, with everything from perceived frontrunner “La La Land” (Justin Hurwitz) and “Jackie” (Mica Levi) to outliers like “Sausage Party” and “Elle.” The final five will be nominated on January 24. In the meantime, avail yourself of this Spotify playlist featuring selections from 110 of the eligible scores — as well as the full list of every eligible score.

Read More: Oscar Best Score Contenders: The Inside Story of Creating 5 Diverse Frontrunners

Read More: Oscars 2017: Listen to 70 Songs Eligible for This Year’s Academy Award

The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,...

The Academy of Motion Picture Arts and Sciences today announced that 145 scores from eligible feature-length motion pictures released in 2016 are in contention for nominations in the Original Score category for the 89th Academy Awards.

The eligible scores along with their composers are listed below, in alphabetical order by film title:

“The Abolitionists,” Tim Jones, composer

“Absolutely Fabulous The Movie,” Jake Monaco, composer

“The Accountant,” Mark Isham, composer

“Alice through the Looking Glass,” Danny Elfman, composer

“Allied,” Alan Silvestri, composer

“Almost Christmas,” John Paesano, composer

“American Pastoral,” Alexandre Desplat, composer

“The Angry Birds Movie,” Heitor Pereira, composer

“Anthropoid,” Robin Foster, composer

“Armenia, My Love,” Silvia Leonetti, composer

“Assassin’s Creed,” Jed Kurzel, composer

“Autumn Lights,” Hugi Gudmundsson and Hjörtur Ingvi Jóhannsson, composers

“The Bfg,” John Williams, composer

“Believe,” Michael Reola, composer

“Ben-Hur,” Marco Beltrami and Buck Sanders, composers

“Bilal,” Atli Ӧrvarsson, composer

“Billy Lynn’s Long Halftime Walk,” Mychael Danna and Jeff Danna,...

The Academy of Motion Picture Arts and Sciences (AMPAS) has announced the 145 scores eligible in the Best Original Score category, includeing work from “Jackie” and “La La Land.” The latter film, a musical directed by “Whiplash” helmer Damien Chazelle, picked up the Los Angeles Film Critics Association’s award for Best Music earlier this month; “Jackie” was the category’s runner-up. Notably absent, meanwhile, are “Arrival” (which just landed a Golden Globe nod), “Manchester by the Sea” and “Silence.”

Read: ‘La La Land’: Emma Stone and Ryan Gosling’s ‘City of Stars’ Duet Will Sweep You Off Your Feet – Listen

Justin Hurwitz composed and orchestrated the “La La Land” score, while “Jackie” marks “Under the Skin” composer Mica Levi’s second silver-screen effort. Decades after becoming one of the world’s most renowned film composers, Ennio Morricone won last year’s Oscar for his work on Quentin Tarantino’s “The Hateful Eight.

Facebook’s Q3 2015 earnings report contained big news about the company’s video operation: It has now surpassed eight billion video views per day, doubling the four billion daily views it counted in April. The news of Facebook’s growth has turned heads within the online video industry, but it has also reignited an ongoing debate about the social media giant’s questionable practices. In a new video, educational YouTube channel Kurzgesagt decried the rampant “freebooting” that allows Facebook to rack up as many views as it does.

“Freebooting,” for the uninitiated, occurs when Facebook users copy videos and re-upload them without receiving permission from the original video owner. On YouTube, the speed and reach of the Content ID system prevents freebooters from seeing much success. Facebook, however, has no such system in place, and since the social media site promotes its own video player over YouTube’s, freebooters are...

BBC

Last week, we talked about various ways in which Doctor Who could have turned out very differently than it did – either because an actor stayed on longer than he did, or a pilot went to series, or things simply worked out in other ways. We covered some of the eternal burning questions, such as what would have happened if the Daleks had gotten their own series, or what would have happened if Sarah Jane Smith had gotten her own series far, far earlier than she did. For the most part, our answers were purely speculative – no one really knows what would have happened if, say, Hartnell had been forced out of the series earlier than he was by his bosses. But in a few cases, we know what could have been, and it makes some of us tear our hair out. Or maybe that’s just us…

That list was by no means exhaustive,...

Laurent Cipriani/AP/Press Association Images

And the transfer saga rolls on. Despite seriously mixed messages in the past few days concerning the Frenchman’s thoughts on his future, and whether Newcastle have actually already agreed a fee with his club or not, Alexandre Lacazette is still not a Newcastle player. The squad numbers confirmation yesterday offered some hope that the club were looking to possibly bring in a centre-back and a striker (since numbers 5 and 12 remained unallocated), but it’s likely one defender would have to move out before the former happened, and the latter looks to be grinding slowly to a halt.

Not signing another striker might not be the worst thing: Newcastle clearly have faith in the three attackers they’ve already brought in, or they wouldn’t have brought them in, and there’s always Papiss Cisse… But then, adding someone who scored as many goals...

How's this for ambition? In American Jesus, director Aram Garriga endeavors to survey most of contemporary U.S. Christianity, in both its smallest sects and its brigades of evangelicals keen to hasten the end of days, all in the time it takes the eyewear shop at your local mall to whip up a pair of glasses. It's too much topic, too little film, but what he gets to is arresting. His documentary is a restless, sunnily shot, one-thing-after-another travelogue of the peculiarities of American worship and belief, and he could have pulled a full movie from most of its many, many pit stops: a West Virginia roadhouse of snake handlers and boogie-woogie piano; '80s Christian alt-rocker Steve Taylor's bizarre satirical anthem "I Blew Up the Clinic Real Good"; the entrepreneur behi...

Last night was a real slog. Despite the current popularity of a fluid 4-2-3-1 formation, Newcastle and Stoke both came out with very old-fashioned line-ups. Stoke played 4-5-1 with Peter Crouch leading the line, whereas Newcastle continued to persist with 4-4-2, despite the formation bringing no joy in their last 3 Premier League encounters (when Big Sam is more tactically diverse than you, you know you’re in trouble)..Newcastle went ahead thanks to Asmir Begovic spilling Demba Ba’s effort into the path of Papiss Cisse shortly after half time but the Toon couldn’t hold on. Cameron Jerome’s arrival from the bench sparked a revival for the home team with the striker going on to create the equalizer and then score the winner.

Despite all Pardew’s talk of ‘hard-work’ and ‘unlucky’, this was yet another ghastly performance from the boys in black and white.

SXSW is barely 24 hours away from starting (catch up with part one and part two of our preview pieces here), and at this point, it's important to be reminded that one of the things that makes the festival unique is a particular focus on the crossover between music and film, something that's been a special interest of ours since the very earliest days of The Playlist. SXSW doesn't just have a whole sidebar dedicated to music documentaries (with this year's batch including films centered on LCD Soundsystem, Paul Simon and Big Star), and a music festival that runs alongside, but the films screened seem to attract a disproportionate number of scores by indie and rock musicians.

And with more and more names who broke out from the pop and rock world -- from veteran composers like Danny Elfman and Clint Mansell to newbies like Trent Reznor and The Chemical Brothers -- moving into composition,...

After going up the mountains at Sundance, and crossing the Atlantic for Berlin, buyers will be adding to their frequent flyer miles again soon as they head to Austin for SXSW, but some deals are already being inked. Roadside Attractions have signed on the dotted according to Deadline, snapping up the rights to "Blue Like Jazz." Directed by Steve Taylor and based on the semi-autobiograhpical best-selling book by Donald Miller the story follows a 19 year-old sophomore, who tries to escape his Bible Belt upbringing, in the godless campus life of a Pacific Northwest college. It seems to be a nice spin on the coming-of-age story, and this trailer, which has been knocking around since last summer, gives a good look at what folks in Austin can expect. Marshall Allman (who played the irritating Tommy on "True Blood") takes the lead with Claire Holt ("Vampire Diaries") and Tania Raymonde (Alex Rousseau on "Lost") co-starring.

Rating: 3.5 out of 5 stars

So here we are, part three of an unofficial trilogy featuring Stephen Taylor (Peter Purves), and Oliver Harper (Tom Allen). It is, sadly, the last story with Oliver, at least so far. Time will tell if the powers that be find a way to bring him back; and believe me, I hope they do.

Our story opens with the Tardis arriving at Grace Alone, a small asteroid. They didn’t particularly want to go there, but in the previous story, the Doctor learned that they were accused of some sort of crime on the asteroid, so he takes everyone there with the plan of creating false records to leave in the computer memory banks.

Things don’t go as planned, of course. When they arrive, they find the crew dead, and learn that a telepathic alien race known as the Vardans (previously scene in the Fourth Doctor story,...

Rating: 4.5 out of 5 stars

Big Finish’s “Companion Chronicles” line is an interesting beast. It was originally designed to give the actors who played Companions with the 1st, 2nd and 3rd Doctors (all played by Doctors who are, sadly, deceased), a way of being involved in the series. They started out as basically audio books being read by one, maybe two, actors. I had little interest in them at that stage. Since then, however, they’ve expanded out, and while they still include only one or two actors, they’re staged a bit more like the standard range of Doctor Who audios.

In this case the companion being chronicled is Stephen Taylor (Peter Purves), an astronaut from some point in the Earth’s future. He’s a companion to the First Doctor, originally played by William Hartnell (1908 – 1975). He’s joined in this particular audio by Oliver Harper (Tom Allen), a young bond trader (and no,...

The above embedded video is more of a TV trailer than a film trailer, but it’s all hilarious. Mike Salva‘s Pound Dogs follows the minimalist adventures of dogs locked up at the local pound, desperately waiting to be adopted. To relieve the boredom, they resort to fun dog activities such as rubbing one’s butt along the floor, wearing sombreros and confessing their love of eating cat poop.

Salva has animated a 13-minute pilot episode for a potential series for Pound Dogs. The short film features the voice work of comedians Ryan Williams and Sean Parrott; cartoon voice actors Andy Merrill (Space Ghost Coast to Coast, Aqua Teen Hunger Force) and Samantha Newark (Jem); and singer/music producer/filmmaker Steve Taylor.

Pound Dogs, the full short, will be screening at the upcoming NY Television Festival on Wed., Sep. 21 at 6:15 p.m. and Fri., Sep. 23 at 9:00 p.

Chicago – While Robert “Twilight” Pattinson has persuasively branched out beyond his typecasting of reanimated and preternatural corpses, his miscast union in the tensionless “Water for Elephants” with pin-up circus spectacle Reese Witherspoon works as well as an elephant trying to spoon a sworn-enemy lion.

Rating: 2.5/5.0

Despite an uneven plot progression that theatrically only brings a comatose life to Sara Gruen’s 2006 best-selling historical novel, sadistic ringmaster Christoph Waltz (Oscar winner for Quentin Tarantino’s “Inglourious Basterds”) and flashback story teller Hal Holbrook (Oscar nominated for Sean Penn’s “Into the Wild”) are the film’s only redeeming salvations.

Waltz, who’s hopelessly haunting in 2009’s “Inglourious Basterds” as the film’s principal Nazi nemesis, resuscitates similar gestures and speech patterns. While he’s playing a very similar character within a completely different and convoluted traveling circus story, he’s the primary character who’s making interesting use of his supporting screen time.

If it were a '40s romantic comedy, "Why Do Fools Fall in Love" might be titled "Testimony of Three Wives".

A dark, dramatic biopic based on the downsliding life of doo-wopper Frankie Lymon, who rose to fame on the titular song, "Fools" stars Halle Berry, Vivica A. Fox and Lela Rochon as the women who were married to Lymon and whose court fight over his royalty "estate" clue us to Lymon's sorry life, a drug-filled saga that had too little "doo" and way too much "wop."

Boasting some great late '50s and early '60s rock sounds, this Warner Bros. film, unfortunately, spins back and forth narratively so much that it has trouble settling into a consistent story rpm and is likely to get only a short play time at the boxoffice despite the excellent lead performances and nostalgic rock 'n' roll sound track.

Frankie Lymon (Larenz Tate) was short, cute and smooth. In the early '60s he was a star, lighting up the roadshow venues with his electric personality and, most popularly, his hit song -- "Why Do Fools Fall in Love". Even by rock star standards, Frankie had a way with the ladies: they adored him and, with his slight frame and boyish looks, he brought out their motherly instincts as well. According to Tina Andrews' fact-based screenplay, Frankie attracted all kinds as we readily see in the three very different women who vie for the royalties he supposedly acquired following his death by overdose. In a court battle, which very much resembles a game show owing to the varied nature of Limon's wives, Widow No. 1 is Zola Taylor (Berry), a former Platters singer and female rock star; Widow No. 2 is Elizabeth (Fox) a streetwise, petty criminal, and Widow No. 3 is Elmira (Rochon), a demure Southern schoolteacher. Frankie had a rather loose regard for bigamy laws, and all three contend that they are the true wife of the late singer. Each has a story and, as you'd expect, they're not exactly airtight.

In essence, Frankie's life and career is refracted through the prism of these three women's viewpoints and, not surprisingly, each paints a startlingly different portrait of the troubled entertainer. With most of the film told in flashback with multiple viewpoints, we're given a textural portrait that is both entertaining and illuminating. Best, this includes some great rock 'n' roll period stuff as well, early Alan Freed shows with such groups as the Shirelles, Little Richard and the Platters performing up and through the mid-'60s on shows including "Hullaballoo". Most of this is engaging, especially owing to the gritty and glossy lead performances, but some of the period evocation is a bit scratchy: '60s protesters come across as variety-show entertainers and the authenticity is muddled by the all-too-obvious studio-lot look of the settings. Like all music bios, we get the feeling that much of the story is grooved according to which music rights were available -- it's odd to see the mid-'60s in rock history with only a one-line mention of the Beatles and a cursory selection of songs that, overall, gives us no "Satisfaction".

The high note of this affectionate production is in the performances, especially Fox as the sultry bad-girl who decides to take on the music-industry practice of producers plastering their name on the writing credits of pop songs for royalties. Fox's don't-mess-with-me demeanor is a powerful pack of facial expressions, body language and attitude. She's reached back for some moves we haven't seen before. High praise also to Berry for her sassy, splashy performance as Frankie's songstress/wife, while Rochon is splendidly credible as Frankie's provincial Southern schoolmarm wife. As the troubled Frankie, Larenz Tate is a perfect blend of charisma and self-destructiveness. Once again, Paul Mazursky is outstanding in a supporting role, hitting all the right slimy notes in his role as a sleazy music producer.

Despite the artificial, studio look of much of the film, light up the applause meter for Cary White's garish, eye-catching, pink-patched production design, perfectly conveying the excess and transience of the characters and the era.

WHY DO FOOLS FALL IN LOVE

Warner Bros.

Producers: Paul Hall, Stephen Nemeth

Director: Gregory Nava

Screenwriter: Tina Andrews

Executive producers: Gregory Nava, Mark Allan, Harold Bronson

Director of photography: Edward Lachman

Production designer: Cary White

Editor: Nancy Richardson

Music: Stephen James Taylor

Costume designer: Elisabetta Beraldo

Casting: Reuben Cannon

Sound mixer: Veda Campbell

Color/stereo

Cast:

Zola Taylor: Halle Berry

Elizabeth Waters: Vivica A. Fox

Emira Eagle: Lela Rochon

Frankie Lymon: Larenz Tate

Little Richard: Himself

Morris Levy: Paul Mazursky

Herman Santiago: Alexis Cruz

Sherman: J. August Richards

Running time -- 123 minutes

MPAA rating: R...