Awards News

Academy of Country Music Awards show will return to Frisco in 2024

Actress and aAwards show regular Kristin Cavallari at the 2022 ACMs.

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Dallas has landed the next Academy of Country Music Awards ceremony: According to a release, the 59th ACM Awards is set for May 16, 2024, and will take place at the Ford Center at The Star in Frisco.

Additional details, including award submissions and voting timeline, hosts, nominees, performers, and ticket on-sale details, will be confirmed in the months ahead.

UPDATE 3-4-2024: ACM Awards pre-sale tickets available starting on Wednesday, March 6; pre-sale tickets are available by signing up for a membership newsletter at ACM A-List. General on-sale starts Friday, March 8 at 10 am at SeatGeek.
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It follows the 2023 edition, a smash success that marked its return to Texas for the first time since 2015, when the ceremony took place at AT&T Stadium in Arlington.

In collaboration with the Academy of Country Music and producer Dick Clark Productions, Prime Video will again offer an exclusive livestream not only of the 2024 ceremony but also its milestone 60th anniversary in 2025. The 57th annual awards in 2022 was the first major awards show to stream live for a global audience.

Hosted by Dolly Parton and Garth Brooks, the 2023 show garnered more than 7.7 million viewers on Prime Video plus additional viewership across Amazon Music, the Amazon Music channel on Twitch, and Amazon Live, making it one of the most-watched awards shows of the year.

The night featured an all-star lineup of memorable moments, including 18 show-stopping performances from 25 artists, along with exclusive collaborations and unexpected moments that captivated fans worldwide.

The 2023 ACM Awards is still available on demand on Prime Video, Amazon Freevee, and Amazon Music.

“When Prime Video first streamed the ACM Awards in 2022, we were overwhelmed with the response from our global audience,” says Vernon Sanders, head of television, Amazon MGM Studios, in a statement. “After seeing last year’s show grow to more than 7.7 million viewers, we could not be more thrilled to continue our relationship with the Academy of Country Music and Dick Clark Productions for the next two years, and especially through the show’s milestone 60th anniversary in 2025. We look forward to continuing the success and bringing even more star-studded and captivating shows to fans around the world.”

Academy of Country Music CEO Damon Whiteside says that, “thanks to the biggest host pairing of all time, Dolly Parton and Garth Brooks, the comprehensive, cross-platform program with our partners at Prime Video and Amazon Music, and the dedicated fans in Texas and around the world, the May 2023 show was a groundbreaking success and illustrates that our pioneering and innovative move to streaming was absolutely the right one at the right time! We’re eager to see everyone back in Texas once again at the home of the Dallas Cowboys next May for another groundbreaking ACM Awards show!”

Ford Center at The Star in Frisco opened in 2016 and serves as the practice facility for the Dallas Cowboys, as well as the home for major sporting events throughout the year. Last year’s ACM Awards were the first awards show to take place at Ford Center.

Founded in Southern California in 1964 as a regional trade organization, the Academy of Country Music has grown in the almost-60 years since into a leading association for the country music industry. Now headquartered in Nashville and boasting record-high membership of nearly 5,000 nationwide, the Academy serves as an advocate for country fans, artists, and all facets of the business, as well as a supporter of philanthropic work.

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Movie Review

Korean monster movie Hope delivers thrills despite its lengthy runtime

Photo courtesy of Neon

Hwang Jung-Min and Hoyeon in Hope.

Monster movies can take on all sorts of different flavors, from all-out mayhem to quieter ones where the monster can sometimes be the protagonist. The new South Korean film Hope splits the difference to a degree, delivering action-packed sequences while also attempting to understand the non-humans in a way.

The story starts in medias res, with an unseen creature having already done great damage to a huge bull and laying waste to much of a small Korean town. The local sheriff, Beom Seok (Hwang Jung-Min), tries to take control of the situation in the town, while a group of hunters led by Sung Ki (Zo In-Sung) travel into the nearby woods to see what they can find there.

Thus starts a nearly nonstop, 160-minute epic of each side trying (and mostly failing) to defend themselves against gigantic creatures who seem hellbent on destroying everything in their path. It’s not until 40 minutes into the film that the audience is shown one of the monsters in detail, and the less said the better about what it actually looks like, as the mystery behind it keeps the intrigue going.

That initial section of the film is the best, as Beom Seok — eventually joined by deputy Sung Ae (Hoyeon) — goes on a frantic hunt around the town, always just far enough behind the monster to keep from seeing it. The utter destruction he witnesses and his interactions with various locals are intense and oddly funny, with the hectic conversations he has laced with fear and incredulity over how different people choose to act.

Writer-director Na Hong-jin bounces back and forth between the people in the town and the group in the forest, doing his best to maintain the momentum of the first section. This approach works for a while as each group makes their own discoveries about the creatures and has run-ins with them that more often than not are ill-fated. Using a mixture of relatively good CGI, great production design, and an abundance of gore, the filmmaker shows he knows how to make an effective blockbuster-style film.

The trouble is, he doesn’t know when to stop. Somewhere around the two-hour mark of the movie, the story starts to become repetitive and Hong-jin introduces elements that don’t mesh well with what has come before. For some reason, he decides that some of the creatures should speak, a move that is baffling on several fronts. The biggest one is that they are voiced by English-speaking actors like Michael Fassbender, Alicia Vikander, and Taylor Russell, but each speaks a non-human language, rendering their performances moot.

Jung-min puts in a fantastic lead performance, one that requires him to vacillate between abject terror and in-control leadership. In-Sung is almost as good, although his character requires him to play one note over and over again. Hoyeon, who some may recognize from Squid Game, delivers an extra shot of energy when she enters the film, something she keeps going despite her character being forced to say some bad lines.

If Hong-jin had kept the focus Hope a little tighter, the sci-fi thriller might have ended up toward the top of this year’s films. But by choosing to extend the story into territories that don’t add much to the plot or make much sense, the filmmaker puts a damper on what was a fun and brutal monster movie.

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Hope is now playing in theaters.

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