As David Letterman might quip: "Oprah... BAFTA." It's funny to think that Oprah Winfrey has been nominated for a BAFTA and not an Oscar this year -- I'm sure that if the BAFTA voters had been tipped off that she wasn't getting an Oscar nod, they probably wouldn't have voted for her. Anyway, good sports that she is, she'll be attending the ceremony, as confirmed today on a BAFTA guest list that also includes Leonardo DiCaprio, Matt Damon, Amy Adams, Sandra Bullock and, of course, prohibitive frontrunners Chiwetel Ejiofor, Cate Blanchett and Lupita Nyong'o. (Best Supporting Actor? Search me.) The awards take place on Sunday. [Screen Daily]
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The music video to U2's "Invisible" is out, and it may be a little sneak-peak into the band's aspirations for their next live tour.
Bono's light-up, drop down mic has a big emphasis out of the black and white, shot by Mark Romanek; it's the rock band's first go-round with the director, who helmed a few little ditties including Nine Inch Nails' "Closer," Johnny Cash's "Hurt" and Michael Jackson's "Scream." So, yeah, the man loves his light. The bulb boards soar with movement behind the band and frontman Bono is able to navigate the catwalk in a sea of waving arms.
For "About Last Night" to work, you have to buy into the relationship between Danny (Michael Ealy) and Debbie (Joy Bryant), and that's not really a problem.
Part of it is because they just plain make sense on a visual level. They're both striking actors, but they're not kids, which makes a difference. Bryant has a sort of non-nonsense beauty on "Parenthood," and they didn't go overboard to change her for the film. They both seem like people who are at home in their skin, happy with who they are, and open to something good happening. This movie doesn't feel like a standard issue romantic comedy precisely because it's about grown-ups who are trying to do the right thing by themselves and by this person they invite into their lives. The fact that they seem like they're trying to do things right only makes it more significant when they can't pull it off.
When we talked about the film, I wanted to talk about the attitude of Leslye Headland's script and how it gave the actors such great stuff to play, and they were happy to discuss not only the script but the general chemistry they had as well.
Even after $102 million at the box office and an Academy Award nomination for Best Makeup and Hairstyling, "Bad Grandpa's" Irving has just one thing on his mind: Yes, he still can't get enough tail.
Irving sat down with HitFix last week to talk about his neverending quest for tail, Billy's current status (let's just say he's under supervision), his affection for Helen Mirren and whether or not he has a ticket to the Oscars. It's an incredibly unconventional interview, but if you're a fan of "Bad Grandpa" you'll probably eat it up.
When "The Hunger Games" changed hands from Gary Ross to Francis Lawrence, there were nervous fans and plenty of reasons to be skeptical about Lawrence. After all, he's a guy who has made a number of studio movies now, and they haven't all been solid. In the end, "Catching Fire" felt like a refinement of the franchise, and I'm genuinely excited to see Lawrence handling the final two films in the series as well, but that mid-franchise creative shift can be nerve-wracking.
When Marvel ends up with a filmmaker they like and they start seeing dailies that work and a film starts coming together in the editing room, they are not above immediately hiring that filmmaker to do it again. The Russo Brothers are already hard at work on "Captain America 3," and if rumors are correct, James Gunn may be heading back to outer space again as soon as he turns in the first "Guardians Of The Galaxy." Of course, their biggest vote of confidence was in Joss Whedon, who started production on "Avengers: Age Of Ultron" today in Wakanda. Errrrr, South Africa.
The season finale of "Shahs of Sunset" was surprising for a lot of reasons, mostly because of what it wasn't. It wasn't a non-stop shrieking argument. It wasn't bubbling over with jealousy, resentment, hurt feelings or snarky judgment. While ostensibly the show was about Reza celebrating his 40th birthday with a blow-out celebration in Palm Springs, it wasn't much of a blow-out and everyone mostly behaved themselves -- even GG. Yes, I said GG. Would it be weird to call this episode sort of poignant? Maybe that's taking it too far. But let's just say everyone, not just Reza, is feeling the weight of the advancing years -- even if that just means furiously ignoring them.
A review of tonight's "Justified" coming up just as soon as we settle on a safe word...
Greta Gerwig lands the lead in "How I Met Your Dad"
Gerwig will play the female version of "How I Met Your Mother's" Ted Mosby, a woman named Sally, who is described as a "female Peter Pan."
It is the responsibility of the working film critic to not only offer opinion and context for the newest releases, but also to constantly champion and curate the films that matter, especially if they were misunderstood or poorly released or somehow handled badly the first time around.
Critics should take it upon themselves to rehabilitate the under-loved, to defend the wrongly-maligned, and rehab the films that need it; it is the only way film as a whole can be healthy.
"When I saw how slimy the human brain was, I knew that's what I wanted to do for the rest of my life."
Genre parody is a very tricky business.
In general, laughter and scares seem like the perfect combination, and when people get it right, it can make for a very appealing rollercoaster ride. One of the things that I love about the collaborations between Carl Reiner and Steve Martin is that they seemed determined not to repeat themselves. In some ways, they strike me as not unlike Gene Wilder and Mel Brooks, guys with fairly different comic sensibilities who came together and created a group of movies that are unlike anything either of them did on their own. I can't imagine "Blazing Saddles" or "The Producers" without Wilder, and I can't imagine he would have had the same luck with any other director that he did with Brooks on "Young Frankenstein." Martin and Reiner's "The Jerk" seemed to be drawn largely from the persona Martin had already created, but "Dead Men Don't Wear Plaid" was a great, strange movie experiment that Reiner had to nail in terms of every single visual detail if the joke was going to work at all.
I can't remember the last time there was this much active campaigning for the Best Original Song Oscar -- perhaps this is what happens when the music branch actually thinks to nominate a handful of decent songs. (And "Alone Yet Not Alone," but perhaps studios are capitalizing on the attention that scandal directed to the category in the first place.)
A quick review of tonight's "New Girl" coming up just as soon as you've seen a girl who looks like me but with chaos in her eyes...