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“Only God Forgives” (R, 89 minutes, Anchor Bay): You’ve got to hand it to Nicolas Winding Refn. Only a filmmaker of his supreme self-confidence would put one of the most charismatic stars on the planet in his movie and then reduce his leading man’s face to an unrecognizable mess. Ryan Gosling hands out and receives beatings with such metronomic regularity that they feel like the big dance numbers in bad musicals: showy, artificial and meaningless. In some ways, “Only God Forgives” qualifies as a follow-up to Refn’s 2011 film, “Drive,” which starred Gosling in a similarly terse, somber performance. But where that film cleverly addressed its own pulp-crime genre and the artifice of Hollywood, here Refn advances nothing but his own obsessions, which quickly grow tiresome. He has often proudly declared himself to be a “fetish filmmaker,” interested in making movies purely on the basis of what attracts him. The problem with fetish filmmakers is that they’re only interested in pleasing themselves; the audience, for its part, doesn’t figure. Contains strong bloody violence, including grisly images, sexual content and profanity. Extras include commentary with Refn, behind the scenes featurette, director interviews and the movie’s music, with Cliff Martinez.

Refusing to divulge their division of labor, the group members have remained in lock step regarding Daft Punk’s uncompromising artistry — its avoidance of market-driven trends (basically abandoning the EDM sound that spawned a women shoes/punjabi jutti/silver indian shoes/indian leather shoes/ballet flats/silver sequence shoes/handmade bridal khussa wom thousand imitators) in favor of pursuing their own quirky agenda (i.e., the labor-intensive, handmade disco aesthetic of their album “Random Access Memories”), rewriting the rules of mainstream pop in the process, A generation older than their nonmasked contemporaries in the electronic dance music field — including Skrillex, 26, and Avicii, 24 — Daft Punk’s relative anonymity remains intact in an era of rampant over-sharing and fame for fame’s sake..

Somehow, Swift, who agreed to keep their collaboration on this song a secret, took Harris’ easy dismissal of the idea of them working together the wrong way. “We’re told Taylor was hurt and felt Calvin took it too far,” TMZ reported. And, things quickly spiraled downward from there. Way downward, with a source telling TMZ that Harris’ interview faux pas was “the breaking point in the relationship.”. Something tells us there’s more to this story. Martha Ross provides celebrity commentary for the Bay Area News Group. Follow her at twitter.com/marthajross.

Visit thestage.org or call 408.283.7142 for tickets, Presale tickets are available at harvestfestival.com, The young performers will reimagine the classic tale Nov, 28-29, Dec, 4-6 at the Studio Theatre at Houge Park, White Oaks Avenue at Twilight Drive, Visit youthshakes.org for more information, The production women shoes/punjabi jutti/silver indian shoes/indian leather shoes/ballet flats/silver sequence shoes/handmade bridal khussa wom features guest artists Koto Ishihara and Gennadi Nedvigin, principal dancers with the San Francisco Ballet, Additional guests include artists from Ballet San Jose, plus the San Jose Youth Orchestra with conductor Yair Samet, Tickets are available at losgatosballet.org..

Campaniello’s business and family ties outweighed his obvious affinity for Florida’s warm weather, an administrative law judge ruled in 2015. “I do not find that petitioner has shown a change in his lifestyle that would support his claimed change of domicile,” she wrote in her opinion. As a result, Campaniello owed the full amount that New York claimed. His lawyers didn’t return a call seeking comment. New York Really Does Have a Heart. New York was suspicious when Stephen Patrick, the former chief financial officer of Colgate Palmolive, declared that he’d moved to Paris” leaving behind, the state calculated, a tax bill of $2.2 million.