October 28, 2016
        Ten Contenders will compete for Best Documentary Short Subject                "The Circle" and "The Lost City of Z": Which potential 2016 contenders got bumped to 2017?                Natalie Portman, Janelle Monáe, Matthew McConaughey, Bryce Dallas Howard, Edgar Ramirez, Stacy Keach at Hollywood Film Awards                Viola Davis will be campaigned in Best Supporting Actress for "Fences"                Mel Gibson to be Honored with the Hollywood Director Award at the 20th Annual Hollywood Film Awards                Michael Moore drops a surprise new film with "Michael Moore in TrumpLand"                Hollywood Contenders: New Oscar Predictions for October                Nicole Kidman, Hugh Grant, Naomie Harris, Lily Collins get Honors at 20th Annual Hollywood Film Awards                "Manchester by the Sea" leads the Gotham Award nominations                Tom Ford, Marc Platt and Kenneth Lonergan to be Honored at 20th Annual Hollywood Film Awards                Tom Cruise is in his action hero comfort zone with "Jack Reacher: Never Go Back"                "Moonlight" could be A24's big Oscar horse this year                Ewan McGregor steps behind the camera with "American Pastoral"                Hollywood Contenders: A second crack at Golden Globe predictions for 2016                "The Accountant" seeks to help give Ben Affleck another blockbuster        

Taylor Swift does it again with “Speak Now”

By Rudy Klapper

HollywoodNews.com: Over 13 million in album sales, multiple Grammy awards, media saturation unheard of since Britney Spears’ heyday, and Taylor Swift still wants us to see her as the proverbial girl up the block. “We got bills to pay / we got nothing figured out,” Ms. Swift laments on first single “Mine,” and if there’s a few of us in the audience rolling their eyes, who am I to blame them? That’s always been the first step in accepting Swift as a legitimate artist and not a prefabricated Top 40 icon, that realization that, for all this girl’s justified success and eye-popping numbers, it’s just this down-to-earth, eerily relatable quality that makes Taylor Swift, well, Taylor Swift. Lady Gaga may have stolen the pop crown by doing everything in her power to mask herself under a veneer of shock fashion and shock statements, but Speak Now has Swift doing just what she does best: being herself, and Swift has come far enough as her own artist to make Speak Now the best pop record of the year.

On its surface, not much about Speak Now is that different from Fearless. Swift still prefers to write about her own broken love stories, the production is still a glossy pop-rock with only the faintest of country tinge to harken back to her roots, and Swift herself is still as dead-to-rights honest as she’s always been. But this isn’t the Taylor Swift of Fearless; millions of record sales and high-profile hook-ups have hardened Swift from the effervescent free spirit of “You Belong With Me” to the regret-filled apology that is “Back to December” and the raw heart and feeling behind “Last Kiss,” a song that would’ve been impossible on a record like Fearless. It’s hard to imagine that this is a girl who has yet to even turn 21, but already has the experience and self-confidence to pen a firebreather like “Dear John” and not sound utterly contrived. These aren’t the musings of an invisible Swedish svengali looking to find some choice lyrics to match to his next chart-topping hit – Swift has seen the world that comes with superstardom, and for all those who complained that Fearless was a one-dimensional teenage love affair, Speak Now takes that experience and wallops the critics with it. Swift can write, and perhaps no song signifies that more than “Dear John,” evidently directed after that man-whore of the female singer/songwriter world, John Mayer. Swift beats the heartbreaker at his own game, throwing darts like “all the girls that you’ve run dry with tired, lifeless eyes ‘cuz you burned them out / but I took your matches before fire could catch me so don’t look now / I’m shining like fireworks over your sad, empty town” while a bluesy electric guitar swells underneath in a ironic parody of Mayer’s own genre of choice.

No longer is Swift rushing blindly into love or advising other girls to look to their futures – hell, it’s hard to believe that Taylor Swift has become jaded enough to pen a song like “Never Grow Up.” It’s the antithesis to Fearless’ maturity anthem “Fifteen,” and it makes a line like “wish I’d never grown up” not the whining of a coddled pop star but the distress of any college-age kid whose realizing that yes, this is real life and they’d better find a plan for it quick before it comes to kick them in the ass. This is Swift’s truest accomplishment, finding that chord in a lyric or hook that strikes a universal note, and pairing it to some of the most gorgeous, effortless arrangements around. Arrangements that, let it be said, stretch Swift’s boundaries more than would seem to even be necessary, but nevertheless succeed in framing Swift’s voice with a punk rock vibe here (“Better Than Revenge”) or a dash of chamber pop there (“Haunted”). And that voice? It just might be the unsung hero behind everything here, showing a remarkably improved power and versatility that many thought lacking in her previous releases. I’m not sure the Taylor Swift of Fearless could pull off a slow burning blues kiss off like “Dear John;” here, she does it like she belongs, standing up in a backwoods bar telling off a dirtbag lover to a sweaty crowd. That signature lilt of hers, meanwhile, that cutesy up-and-down accompanied no doubt by a flicker of the lashes, has never been better, and it takes only perfunctory listens to songs like the title track or “Mine” to verify that this is Swift at the peak of her abilities.

To read more from this article go to The Pop Fix.

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