Plain and simple, no explanations, just the countdown - each name on the list is a link to an image (if you need a reminder or further dress scrutinizing)... If you don't agree, feel free to yell at me. Or something. I thought these ten women were the most beautiful of the evening, dressing it up like A-list stars should on Hollywood's biggest night.
10. Gwyneth Paltrow (in Calvin Klein)
9. Halle Berry (in Marchesa)
8. Mila Kunis (in Elie Saab)
7. Reese Witherspoon (in Armani Prive)
6. Hailee Steinfeld (in Marchesa)
5. Natalie Portman (in Rodarte)
4. Michelle Williams (in Chanel)
3. Jennifer Lawrence (in Calvin Klein)
2. Anne Hathaway (in Valentino)
1. Cate Blanchett (in Givenchy)
Aaand Worst Dressed? It's a tie - Nicole Kidman and Melissa Leo!
Monday, February 28, 2011
Oscar Hangover: Telecast Notes
The night had it's share of highlights - Kirk Douglas's amazing introduction of the Supporting Actress nominees (possibly my favorite moment); Melissa Leo dropping the big f-bomb during her acceptance speech; classy and elegant (if lacking a bit in gushing emotion or inspiration) speeches from Christian Bale, Natalie Portman, and Colin Firth; winning remarks from writers Aaron Sorkin and David Seilder; (most of) Anne Hathaway's dresses; Cate Blanchett saying "That's gross" about the Best Makeup clip for The Wolfman; THAT BEAUTIFUL STAGE; the Oscars history lesson (that first Gone With the Wind segment almost had me sobbing); Inception nearly sweeping the technical awards; an incredible clip of auto-tuned numbers from films throughout the year; Robert Downey, Jr, showing (once again) why he should host at least the Golden Globes; Tom Hooper's lovely anecdote about his mother finding the inspiration for The King's Speech...
Speaking of The King's Speech, bravo to the Brits! Following this victory, I'm seriously peeved over news that the Weinstein Company is planning on releasing an PG-13 version of the film, editing out a vital part of the film involving a lengthy string of expletives from (Oscar winner) Colin Firth. And while I would have liked to seen the more daring and timely The Social Network win (though Black Swan will always have my heart from 2010), the Academy loves an impeccably fashioned film like The King's Speech; I just wish the voting would have learned towards something a little different than the Academy's regular taste. However, it is egregious that Tom Hooper won Best Director over David Fincher! HOW DID THAT HAPPEN? Dave, your Oscar will come soon enough! Don't cry! Plus, the proper demeanor of the producers accepting the Best Picture trophies left me cold; I wanted Helena Bonham Carter to scream something crazy and drown out the boring British blabber. Your marvelous film just won! Give me some flavor.
There seems to be a lot of moaning and gnashing of teeth over how boring the show was, but I learned a valuable lesson - it's all about the company you keep on Oscar Sunday. While my Oscar "shindig" only consisted of three people (including myself), I had an absolutely wonderful time, and it ended up being my favorite Oscar watching experience in years. Just because the telecast isn't living up to your wildest dreams doesn't mean it needs to be a dull night. Big ol' DUH. Finally, as Steven Spielberg demonstrated before announcing Best Picture, sometimes the film that lives on in history is not that big winner on Oscar night. It stood as a brief reminder how incredible 2010 was for film, from inspired performances to brilliant directors and truly remarkable works of art. Hollywood put out this year; hopefully 2011 follows up with some equally awe-inspiring material.
All of the Oscars winners are listened on the show's official site, here - http://oscar.go.com/nominations
Thursday, February 24, 2011
Pre-Oscar Roundup: Quick Take Reviews
After a long break from this blog, for numerous stupid reasons, I am officially back! And since nothing is more glorious than Oscar Holy Week, the timing is no coincidence; hopefully I hurl out as many posts as possible before Sunday night arrives. As I've neglected to write reviews for the last four Oscar nominated films I've seen (one being the Big Kahuna), here are "short" (for me?) blurbs to slap down my thoughts.
Tom Hooper's royal British biopic The King's Speech, about King George VI's infamous stutter and the looming threat of WWII, is a meticulously constructed film - it's both emotional crowd-pleaser and highbrow piece of history. Nothing more needs to be said about Firth's perfect performance at this point, which will surely win him his first Oscar some February 27th; Geoffrey Rush and Helena Bonham Carter are also both stupendous, poised and passionate (some critics think they have a chance of winning if love for King's Speech is strong enough for a clean sweep)... However, I'm not as enchanted as most are. Every element of the film seems to be pushing for awards season victory, and some of that effort is too apparent on screen. And if we're talking big British biopics, I'm not sure I liked The King's Speech more than The Queen from 2006 . Mainly, I think Hooper's film is too safe to win the Picture, especially in a year when filmmakers are creating work as brave and bold as Black Swan and The Social Network. I was possibly colored by the film's insane buzz coming off of the festival circuit, but I was expecting a film with more punch. It's a strong and inspiring cinematic story... but still safe. B+
True Grit, which goes back to the original Charles Portis' 1968 more than the 1969 film adaptation, is the Coen Brothers shooting straight; in comparison to their last "Western" No Country for Old Men and last year's passion project A Serious Man, True Grit follows more old school Americana conventions. Young "supporting" actress (she's on screen for 99 of the film's 101 minutes) Hailee Steinfeld plays a girl seeking revenge on the man that murdered her father, employing U.S. Marshal Rooster Cogburn to help in the hunt. The fact that Steinfeld is nominated for an Oscar, let alone in the wrong category, is an absolute travesty. Steinfeld is taking a slot that belongs to another woman, and I can at least name two - The Kids Are All Right's Julianne Moore (why can't she be "supporting"?) and Another Year's Lesley Manville (see below). In comparison to the young lady, Jeff Bridges' winning performance (almost a companion to his turn in Crazy Heart last year) deserves all applause he's received by making the role that won John Wayne an Oscar his own, and doing so in hilarious fashion. While True Grit is a fun ride, one of the most entertaining experience in the theater this Oscar season with some stunning cinematography, I'm getting tired of the Coen Brothers shtick. They might be the Academy's Golden Boys, but I want to see something new. B
Nicole Kidman garnered most of the buzz out of Rabbit Hole, with is based on David Lindsay-Abaire's Pulitzer Prize-winning play (he also wrote the screenplay here). While Kidman certainly isn't at her former glory of Moulin Rouge! or The Hours, it is wonderful to see a glimmer of her acting power return; her face is emoting once again (finally!), but Academy was more interested in seeing the return of an A-list player than honoring this performance with a Best Actress nomination. However, Aaron Eckhart was the actor that gave me more as the grieving father figure; I didn't expect such a powerful and understated performance from him... Unfortunately, Lindsay-Abaire's attempts to expand and update the play fall flat (one of the film's heaviest scenes jarringly uses an iPhone as a central prop), which ultimately detracts from what the play accomplished. In the tried genre of films dealing with the loss of a child, Rabbit Hole has some remarkably moving segments at its core; paired with unobtrusive direction by John Cameron Mitchell, it's impossible not to be moved, especially once Jason (Miles Teller) enters. Nicole Kidman has one scene in a grocery store that bottles how the entire film should feel, and having a little taste of what the film could have fully tapped into amplifies the disappointment. There's too much distracting elements on the periphery. C
I love a director who can make a quiet gem of a film that still packs a punch (also see this year's Winter's Bone), and Mike Leigh achieves that brilliantly with Another Year. Leigh, known for little British films like Vera Drake and Happy-Go-Lucky, is nominated for Best Original Screenplay this year, and Another Year serves as a wonderful example of how to balance moods and characters. The film's structure, separated into four chapters (one for each season), is slightly cliched, but Leigh makes the frame work with attention to subtle shifts in tone over gratuitous weather shots. The narrative also sags a little in the middle, mainly because Lesley Manville's Mary is absent; while the ensemble is full of gifted British thesps, Manville explodes, giving one of my favorite performances the year (it's a huge shame that she isn't even nominated for Supporting Actress). Another Year shows the everyday activities and relationships of a middle-class "family," anchored by the happily married Tom (Jim Broadbent) and Gerri (Ruth Sheen), but illuminated by Mary's manic insecurities. It's depressingly beautiful, and Leigh slowly builds emotional tension, waiting until the final chapter to truly unleash a difficult tone between dark humor and true tragedy; the film's last shot rivals Black Swan as the most breathtaking finale of the year. A
Tom Hooper's royal British biopic The King's Speech, about King George VI's infamous stutter and the looming threat of WWII, is a meticulously constructed film - it's both emotional crowd-pleaser and highbrow piece of history. Nothing more needs to be said about Firth's perfect performance at this point, which will surely win him his first Oscar some February 27th; Geoffrey Rush and Helena Bonham Carter are also both stupendous, poised and passionate (some critics think they have a chance of winning if love for King's Speech is strong enough for a clean sweep)... However, I'm not as enchanted as most are. Every element of the film seems to be pushing for awards season victory, and some of that effort is too apparent on screen. And if we're talking big British biopics, I'm not sure I liked The King's Speech more than The Queen from 2006 . Mainly, I think Hooper's film is too safe to win the Picture, especially in a year when filmmakers are creating work as brave and bold as Black Swan and The Social Network. I was possibly colored by the film's insane buzz coming off of the festival circuit, but I was expecting a film with more punch. It's a strong and inspiring cinematic story... but still safe. B+True Grit, which goes back to the original Charles Portis' 1968 more than the 1969 film adaptation, is the Coen Brothers shooting straight; in comparison to their last "Western" No Country for Old Men and last year's passion project A Serious Man, True Grit follows more old school Americana conventions. Young "supporting" actress (she's on screen for 99 of the film's 101 minutes) Hailee Steinfeld plays a girl seeking revenge on the man that murdered her father, employing U.S. Marshal Rooster Cogburn to help in the hunt. The fact that Steinfeld is nominated for an Oscar, let alone in the wrong category, is an absolute travesty. Steinfeld is taking a slot that belongs to another woman, and I can at least name two - The Kids Are All Right's Julianne Moore (why can't she be "supporting"?) and Another Year's Lesley Manville (see below). In comparison to the young lady, Jeff Bridges' winning performance (almost a companion to his turn in Crazy Heart last year) deserves all applause he's received by making the role that won John Wayne an Oscar his own, and doing so in hilarious fashion. While True Grit is a fun ride, one of the most entertaining experience in the theater this Oscar season with some stunning cinematography, I'm getting tired of the Coen Brothers shtick. They might be the Academy's Golden Boys, but I want to see something new. BNicole Kidman garnered most of the buzz out of Rabbit Hole, with is based on David Lindsay-Abaire's Pulitzer Prize-winning play (he also wrote the screenplay here). While Kidman certainly isn't at her former glory of Moulin Rouge! or The Hours, it is wonderful to see a glimmer of her acting power return; her face is emoting once again (finally!), but Academy was more interested in seeing the return of an A-list player than honoring this performance with a Best Actress nomination. However, Aaron Eckhart was the actor that gave me more as the grieving father figure; I didn't expect such a powerful and understated performance from him... Unfortunately, Lindsay-Abaire's attempts to expand and update the play fall flat (one of the film's heaviest scenes jarringly uses an iPhone as a central prop), which ultimately detracts from what the play accomplished. In the tried genre of films dealing with the loss of a child, Rabbit Hole has some remarkably moving segments at its core; paired with unobtrusive direction by John Cameron Mitchell, it's impossible not to be moved, especially once Jason (Miles Teller) enters. Nicole Kidman has one scene in a grocery store that bottles how the entire film should feel, and having a little taste of what the film could have fully tapped into amplifies the disappointment. There's too much distracting elements on the periphery. CI love a director who can make a quiet gem of a film that still packs a punch (also see this year's Winter's Bone), and Mike Leigh achieves that brilliantly with Another Year. Leigh, known for little British films like Vera Drake and Happy-Go-Lucky, is nominated for Best Original Screenplay this year, and Another Year serves as a wonderful example of how to balance moods and characters. The film's structure, separated into four chapters (one for each season), is slightly cliched, but Leigh makes the frame work with attention to subtle shifts in tone over gratuitous weather shots. The narrative also sags a little in the middle, mainly because Lesley Manville's Mary is absent; while the ensemble is full of gifted British thesps, Manville explodes, giving one of my favorite performances the year (it's a huge shame that she isn't even nominated for Supporting Actress). Another Year shows the everyday activities and relationships of a middle-class "family," anchored by the happily married Tom (Jim Broadbent) and Gerri (Ruth Sheen), but illuminated by Mary's manic insecurities. It's depressingly beautiful, and Leigh slowly builds emotional tension, waiting until the final chapter to truly unleash a difficult tone between dark humor and true tragedy; the film's last shot rivals Black Swan as the most breathtaking finale of the year. A
Grammys Aftermath: The Four Must-Have Artists
Somehow, the Grammys weren't absolute shit this year! Yes, this post may be a week (or two) late, but the biggest night for the music industry was actually something to remember for once - surprising underdog wins, electric performances, Gaga in an egg, Cee-Lo and Gwyneth Paltrow proving (again) to be an unstoppably giddy duo, Ricky Martin wearing scary silver pants, Christinia Aguilera falling down, etc. With lots of post-telecast Arcade Fire buzz (including the creation of this hilarious blog), I decided it was time to scream and shout about my favorite band, as well as others that hit the mark.
For starters, Arcade Fire probably had the worst performance of the night... unless you're a big fan of having a seizure while riding a bicycle. With a camera on your head. I mean, really, Arcade Fire? You might be Canadian, but that shit doesn't fly on American television. I was disappointed with this madcap performance - turn down those damn strobe lights and rock out. "Month of May" is also the most superficial track on The Suburbs ("We Used to Wait" would have been a better choice), but at least the band got to put out a confident "Ready to Start" as the credits rolled.
If you don't own The Suburbs, go buy it. Right now. While Funeral is still my favorite album from the band, they're an incredibly smart group of incredibly talented musicians that still remember the art of putting together a fully realized album; all of their stuff presents a theme, and works through its nuanced layers. I couldn't have been happier with their big win, and hope the new exposure works wonders.
Three other performers proved why you should be downloading - Florence + the Machine, Mumford & Sons, and the Avett Brothers. While Esperanza Spalding won Best New Artist (and was the most searched name on Google the next day, as no one had a fucking clue what was going on), Flo and Mumford & Sons should have been vying for the award; I've gushed about Lungs on the blog before, while Mumford & Sons' Sigh No More is one of my most played albums. The Avett Brothers have been around for a long time (their first full album was released in 2000), but paired with Mumford & Sons and Bob Dylan (who has definitely sold his soul to the Devil), they showed why they're still worth the buzz they've slowly built up through the years. Meanwhile, Flo's part in the opening Aretha Franklin tribute proved to everyone that this fire-haired Brit can sing the roof off (did I make up that expression...?). All three of these bands present different facets of what's truly hitting the mark in the more folky scene right now.
Next year, get ready for some heavy competition from the likes of Kanye West and Adele; My Beautiful Dark Twisted Fantasy is hands down the best "hip-hop" album in years, and proves the genius behind Kanye's outrageous public antics... while Adele's 21 (which is posied to debut at #1 on Billboard this week) is one of the most beautifully emotive albums ever put together, let alone by a 21-year-old woman.
For starters, Arcade Fire probably had the worst performance of the night... unless you're a big fan of having a seizure while riding a bicycle. With a camera on your head. I mean, really, Arcade Fire? You might be Canadian, but that shit doesn't fly on American television. I was disappointed with this madcap performance - turn down those damn strobe lights and rock out. "Month of May" is also the most superficial track on The Suburbs ("We Used to Wait" would have been a better choice), but at least the band got to put out a confident "Ready to Start" as the credits rolled.
If you don't own The Suburbs, go buy it. Right now. While Funeral is still my favorite album from the band, they're an incredibly smart group of incredibly talented musicians that still remember the art of putting together a fully realized album; all of their stuff presents a theme, and works through its nuanced layers. I couldn't have been happier with their big win, and hope the new exposure works wonders.
Three other performers proved why you should be downloading - Florence + the Machine, Mumford & Sons, and the Avett Brothers. While Esperanza Spalding won Best New Artist (and was the most searched name on Google the next day, as no one had a fucking clue what was going on), Flo and Mumford & Sons should have been vying for the award; I've gushed about Lungs on the blog before, while Mumford & Sons' Sigh No More is one of my most played albums. The Avett Brothers have been around for a long time (their first full album was released in 2000), but paired with Mumford & Sons and Bob Dylan (who has definitely sold his soul to the Devil), they showed why they're still worth the buzz they've slowly built up through the years. Meanwhile, Flo's part in the opening Aretha Franklin tribute proved to everyone that this fire-haired Brit can sing the roof off (did I make up that expression...?). All three of these bands present different facets of what's truly hitting the mark in the more folky scene right now.
Next year, get ready for some heavy competition from the likes of Kanye West and Adele; My Beautiful Dark Twisted Fantasy is hands down the best "hip-hop" album in years, and proves the genius behind Kanye's outrageous public antics... while Adele's 21 (which is posied to debut at #1 on Billboard this week) is one of the most beautifully emotive albums ever put together, let alone by a 21-year-old woman.
Tuesday, February 1, 2011
Quote of the Day
I feel like I'm in The Day After Tomorrow, rushing to get inside before the freezing air kills me instantly.
-Abaigeal Reilly
-Abaigeal Reilly
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