Beyonce, Kings of Leon and Taylor Swift were the toast of the music world on Sunday night after taking home the 52nd annual Grammy Awards' biggest prizes.
Beyonce was the Los Angeles event's biggest winner, claiming six of the 10 honors for which she was nominated.
These included Song of the Year, Best R&B Song and Best Female R&B Vocal Performance awards for "Single Ladies (Put a Ring on It)."
Swift took home her first four Grammys, including the coveted Album of the Year award, and Kings of Leon's anthem "Use Somebody" earned the rockers prizes for Record of the Year, Best Rock Song and Best Rock Performance by a Duo or Group with Vocals.
The Black Eyed Peas and Jay-Z were also triple winners at the Grammys, as was the San Francisco Symphony, thanks to its album Mahler: Symphony No. 8; Adagio from Symphony No. 10.
The event's winners were overshadowed by a clutch of terrific performances from acts like Green Day, Pink, Dave Matthews Band, Beyonce and the Black Eyed Peas.
Elton John and Lady Gaga collaborated to open the show, and there were further mash-ups for Jamie Foxx, T-Pain and Slash, Mary J. Blige and Andrea Bocelli, Eminem, Drake and Lil Wayne, and Taylor Swift and Fleetwood Mac star Stevie Nicks.
But the event's highlight was a star-studded tribute to Michael Jackson; Celine Dion, Jennifer Hudson, Usher, Smokey Robinson and Carrie Underwood teamed up to perform the King of Pop's "Earth Song."
The stunning collaboration was accompanied by a 3-D version of the "Earth Song" video Jackson planned to use as a backdrop during his This Is It concerts last summer.
Stars like Beyonce, Rihanna and will.i.am were among the audience members who donned special 3-D glasses to fully appreciate the spectacular musical moment.
They ended the song with their backs to the crowd, staring at images of Jackson, which were flashed onto the big screen behind them, as the audience rose to its feet to applaud the performance, which presenter Lionel Richie called "unbelievable."
Following the showstopper, Jackson's children Prince and Paris took the Staples Center stage to honor their father, a recipient of one of the night's Lifetime Achievement Awards.
In his first public speaking appearance, Prince thanked God for "watching over us these past seven months" and "our grandma and grandpa for their love and support."
Both Jackson children ended their brief acceptance speeches with the words "We love you daddy".
The big winners of the 2010 Grammys are:
Record Of The Year: Use Somebody - Kings of Leon
Song Of The Year: Single Ladies (Put A Ring On It) - Beyonce
Best New Artist: Zak Brown Band
Album Of The Year: Fearless - Taylor Swift
Best Female Pop Vocal Performance: Halo - Beyonce
Best Male Pop Vocal Performance: Make It Mine - Jason Mraz
Best Pop Performance By A Duo Or Group With Vocals: I Gotta Feeling - The Black Eyed Peas
Best Pop Collaboration With Vocals: Lucky - Jason Mraz & Colbie Caillat
Best Pop Instrumental Performance: Throw Down Your Heart - Bela Fleck
Best Pop Instrumental Album: Potato Hole - Booker T. Jones
Best Pop Vocal Album: The E.N.D. - The Black Eyed Peas
Best Dance Recording: Poker Face - Lady Gaga
Best Electronic/Dance Album: The Fame - Lady Gaga
Best Traditional Pop Vocal Album: Michael Buble Meets Madison Square Garden - Michael Buble
Best Solo Rock Vocal Performance: Working On A Dream - Bruce Springsteen
Best Rock Performance By A Duo Or Group With Vocals: Use Somebody - Kings of Leon
Best Hard Rock Performance: War Machine - AC/DC
Best Metal Performance: Dissident Aggressor - Judas Priest
Best Rock Instrumental Performance: A Day In The Life - Jeff Beck
Best Rock Song: Use Somebody - Kings of Leon
Best Rock Album: 21st Century Breakdown - Green Day
Best Alternative Music Album: Wolfgang Amadeus Phoenix - Phoenix
Best Female R&B Vocal Performance: Single Ladies (Put A Ring On It) - Beyonce
Best Male R&B Vocal Performance: Pretty Wings - Maxwell
Best R&B Performance By A Duo Or Group With Vocals: Blame It - Jamie Foxx & T-Pain
Best Traditional R&B Vocal Performance: At Last - Beyonce
Best Urban/Alternative Performance: Pearls - India.Arie & Dobet Gnahore
Best R&B Song: Single Ladies (Put A Ring On It) - Beyonce
Best R&B Album: Blacksummers' Night - Maxwell
Best Contemporary R&B Album: I Am... Sasha Fierce - Beyonce
Best Rap Solo Performance: D.O.A. (Death Of Auto-Tune) - Jay-Z
Best Rap Performance By A Duo Or Group: Crack A Bottle - Eminem, Dr. Dre & 50 Cent
Best Rap/Sung Collaboration: Run This Town - Jay-Z, Rihanna & Kanye West
Best Rap Song: Run This Town - Jay-Z, Rihanna & Kanye West
Best Rap Album: Relapse - Eminem
Best Female Country Vocal Performance: White Horse - Taylor Swift
Best Male Country Vocal Performance: Sweet Thing - Keith Urban
Best Country Performance By A Duo Or Group With Vocals: I Run To You - Lady Antebellum
Best Country Collaboration With Vocals: I Told You So - Carrie Underwood & Randy Travis
Best Country Instrumental Performance: Producer's Medley - Steve Wariner
Best Country Song: White Horse - Taylor Swift
Best Country Album: Fearless - Taylor Swift
Best Spoken Word Album: Always Looking Up - Michael J. Fox
Best Comedy Album: A Colbert Christmas: The Greatest Gift Of All! - Stephen Colbert
Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media: Slumdog Millionaire - Various Artists
Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media: Up - Michael Giacchino
Best Song Written For Motion Picture, Television Or Other Visual Media: Jai Ho (From Slumdog Millionaire) - Gulzar, A.R. Rahman & Tanvi Shah, songwriters
Lifetime Achievement Award: Leonard Cohen
Lifetime Achievement Award: Michael Jackson
Lifetime Achievement Award: Loretta Lynn
Lifetime Achievement Award: Bobby Darin
Lifetime Achievement Award: Clark Terry
Lifetime Achievement Award: David 'Honeyboy' Edwards
Lifetime Achievement Award: Andre Previn
Trustees Award: Walter C. Miller
Trustees Award: Florence Greenberg
Trustees Award: Harold Bradley
Presidents Merit Award: Doug Morris
Presidents Merit Award: Placido Domingo
Presidents Merit Award: Ken Ehrlich
MusiCares Person of the Year: Neil Young
(c) 2009 WORLD ENTERTAINMENT NEWS NETWORK LTD. All global rights reserved. No unauthorized copying or re-distributing permitted.
Everything appears to be status quo between humans and mutants. There’s a president who is sympathetic towards mutants Prof. Charles Xavier’s (Patrick Stewart) school is thriving and Magneto (Ian McKellen) is quiet--for the moment. But when a “cure” for mutancy is discovered which would give those with the mutant gene the choice to give up their powers and become human Magneto sees red. Cure mutants? Dem’s fightin’ words. With a few more allies on his side--including the resurrected Jean Grey (Famke Janssen) who now calls herself the Phoenix and has unlimited powers--Magneto prepares to trigger the war to end all wars while the X-Men--lead by the stalwart Wolverine (Hugh Jackman) and milquetoasty Storm (Halle Berry)--try to stop him. I seriously doubt this is really their Last Stand. All the usual suspects are back. Stewart is once again sufficiently wise as Xavier while McKellen’s Magneto continues to be one of the cooler comic-book villains. It’s amusing to watch him calmly mangle cars or dislodge the Golden Gate bridge with a gleam in his eye. Janssen also seems to relish playing dual roles--the tormented Grey and her evil alter ego Phoenix who is one scary broad. Unfortunately Jackman doesn’t have as much to chew on in Last Stand as he did in X2 and Berry is once again only good for drumming up fog. But the new mutants are kind of fun: Ellen Page (so deadly in Hard Candy) plays sweet this time as Kitty Pryde who can “phase” through solid material; Vinnie Jones (Snatch) is boisterous as the aptly named Juggernaut; Kelsey Grammer is diplomatic as the highly intelligent--and very blue--Dr. Hank McCoy aka Beast; and Dania Ramirez (Fat Albert) as the blink-of-an-eye quick Callisto gets to kick Storm’s ass. Cool cat fight. How dare director Bryan Singer leave his X-Men to go direct another superhero movie even if it is Superman Returns. If Wolverine had anything to say about he might have ripped Singer a new one. You really do feel Singer’s absence in The Last Stand. All of the director’s tormented pathos towards his mutant comrades and their struggles to live in the human world are not as prevalent in this third installment. Instead we’ve got happy-go-lucky director Brett Ratner of Rush Hour fame who turns The Last Stand into one giant id--big explosive and campy. Of course to his credit Ratner is pretty good at delivering a rousing albeit superficial action movie. It’s just not as gripping as X2. But listen the spirit of the comic is already built in from the previous installments so in essence we already know these characters pretty well. Do we really need more angst?
Heaven. Hell. Us humans in the middle. It's all very complicated. But John Constantine (Keanu Reeves) seems to have a handle on it. Born with a gift he says no human should ever have he has the ability to see what he calls "half-breeds"--angels and demons that walk the earth in human skin (and apparently there are a lot of them). Of course the horror of it is too much to bear and Constantine tries to take his own life. But he fails. Now having been to hell and back again quite literally Constantine is marked as an attempted suicide with a temporary lease on life. He patrols the earthly border between heaven and hell acting as an exorcist of sorts. Of course the guy isn't doing it because he feels empathy for the human race or anything. It's for purely selfish reasons. He hopes that if he sends the devil's foot soldiers back to the depths he'll gain some kind of redemption a free get-out-of-jail card so to speak. Constantine's attitude changes however when a skeptical police detective Angela (Rachel Weisz) enlists his help in solving the mysterious death of her beloved twin sister. They end up uncovering a twisted master plan brewing between the demons and angels which could bring about a catastrophic series of otherworldly events. Perfect.
John Constantine is a little like The Matrix's Neo--an ultra-cool but tormented man of little words with a sardonic fatalistic outlook on life who kicks a myriad of nasty-looking demons (instead of a myriad of nasty-looking machines) back from whence they came. Yes Reeves has done this before but that's because he's good at it. You can't blame him for sticking with something that works. Weisz also holds her own as the devoutly religious Angela who nonetheless has a hard time believing there are actual angels and demons running around among us. That is of course until she spends about 10 minutes with Constantine and sees just how real they are. As far as the rest of the humans in the film Shia LaBeouf (Holes) does a nice comical turn as Constantine's sidekick and protégé while Djimon Hounsou (In America) works his voodoo mojo as a witch doctor who has a long-standing if strained relationship with Constantine. The not-so-human counterparts are equally intriguing. Peter Stormare (Fargo) delivers a somewhat over-the-top but devilishly eccentric performance as Satan. Tilda Swinton (The Deep End) dons the wings of the arch-angel Gabriel to whom Constantine is always asking for a reprieve but who has got her own agenda.
Based on the DC Comics/Vertigo comic-book Hellblazer Constantine is demonic eye candy. Obviously inspired by the many music videos he's helmed in the past director Francis Lawrence making his feature film debut paints a pretty dark and moody world with shadowy wet rat-infested (or cockroach-infested) corners that hide the horrific demon half-breeds as well as all other kinds of terrible baddies. Then when we get into Hades itself where the demons and seplavites--a sub-genre of the damned who are sightless mindless soul eaters--prowl it's an apocalyptic landscape. Lovely place. Unfortunately the script isn't nearly as stimulating. It must be an arduous task adapting a series of comic books so to his credit screenwriter Kevin Brodbin does do a nice job introducing us to Constantine and his world. But Brodbin seems to have incorporated too much. As the action escalates more and more plot points and characters are thrown in complicating matters. By the time the long-winded climax is over you're exhausted.
Based on Chris Van Allsburg's enchanting award winning children's book the story begins on a snowy Christmas Eve where a doubting young boy lies in his bed waiting to hear the sound he doesn't know if he believes in anymore: the tinkle of Santa's sleigh bells. What he hears instead however is the thunderous roar of an approaching train where no train should be: it's the Polar Express. Rushing outside in only a robe and slippers the incredulous boy meets the train's conductor who urges him to come onboard. Suddenly the boy finds himself embarking on an extraordinary journey to the North Pole with a number of other children--including a girl who has the tools to be a good leader but lacks confidence; a know-it-all boy who lacks humility; and a lonely boy who just needs to have a little faith in other people to make his dreams come true. Together the children discover that the wonder of Christmas never fades for those who believe. As the conductor wisely advises "It doesn't matter where the train is going. What matters is deciding to get on." Gives ya goose bumps doesn't it?
Talk about a vanity project for Tom Hanks. He portrays several of the characters in the film--the conductor the hobo who mysteriously appears and disappears on the Polar Express the boy's father. Wait isn't that Hanks playing Santa Claus as well? But if anyone can pull off some cheesy dialogue about the spirit of Christmas this Oscar-winning actor can. Interestingly the film also incorporates adults to play the children (none of the characters have names actually) with Hanks as the Hero Boy; Hanks' Bosom Buddies pal Peter Scolari as the Lonely Boy; The Matrix Revolutions Nona Gaye as the Hero Girl; and veteran voice actor Eddie Deezen as the Know-It-All Boy. Everyone does a good job but trying to make CGI-created people seem real is a difficult undertaking. With
The Polar Express director Robert Zemeckis has created an entirely new way to do computer animation called "performance capture." "[It's a process that] offers a vivid rendering of the Van Allsburg world while infusing a sense of heightened realism into the performances. It's like putting the soul of a live person into a virtual character " visual effects wizard and longtime Zemeckis collaborator Ken Ralston explains. Oh is that all? Problem is no matter how hard they try it doesn't work--not completely. Similar to flaws in the 2001 Final Fantasy: The Spirits Within virtual characters just can't convey human emotion as well as real-life actors plain and simple. And with a touching story like Polar Express that real-life connection is missed at times.
Of course like the images in the book it's still an exceptionally beautiful film to watch. Zemeckis enjoys being a filmmaking innovator. He charmed audiences with a lively blend of live action and manic animation in the 1988 classic action comedy Who Framed
Roger Rabbit? and then wowed them with the 1994 Oscar-winning Forrest Gump blending authentic archival footage of historic figures with the actors. Now with The Polar Express it's this performance capture which gives Zemeckis unlimited freedom in creating the world he wants. And boy does he make use of it. True the story is a classic but the director knows he has to make The Polar Express exciting for the tykes-- simply riding around in a train to North Pole without any thrills certainly wouldn't be enough for the ADD world we live in. To accomplish this the film is padded with exhilarating scenes such as the train going on a giant roller coaster ride through the mountains and across frozen lakes (too bad Warner Bros. doesn't have a theme park) and the boy's race across the top of the snowy Polar Express. Even the North Pole is a booming magical Mecca filled with some pretty boisterous (and weird looking) elves who like to send Santa off in style Christmas Eve--watch out for Aerosmith's Steven Tyler making a cameo as a jammin' elf. Ho-ho-ho!
Based on the bestseller by Nicolas Sparks the film begins with Duke (James Garner) and Allie (Gena Rowlands) an inseparable couple living in a nursing home. While Duke remembers their life together Allie who suffers from progressive dementia does not. Their only bond is a faded notebook from which Duke reads to Allie every day telling her the same story over and over. It's a sweeping tale of two South Carolina teens country boy Noah (Ryan Gosling) and city gal Allie (Rachel McAdams) who spend one glorious summer in the early 1940s falling madly in love. Unfortunately the couple is soon separated first by her disapproving parents and then by World War II but after seven years apart after taking different paths they are passionately reunited. There's a catch though; Allie is now faced to choose between the man she once loved and the successful businessman (James Marsden) she is engaged to. It's really no surprise who the young Allie chooses in the end--but for Duke the only thing that keeps him going is the fact that every day somehow through the power of this story the mentally impaired Allie miraculously remembers their love if only for a very brief moment before slipping back into oblivion. Tears being jerked from your eyes yet?
The talented cast certainly elevates The Notebook's romantic drudgery. McAdams takes a departure from all the Mean Girls she's played lately (including The Hot Chick) and easily wins you over as the spirited young Allie while the usually intense Gosling also tackles something lighter so to speak than his previous darker roles such as his Jewish-turned-American Nazi leader in The Believer. While infusing a certain sense of brooding and melancholy into Noah especially in the years he spends pining for Allie Gosling manages to exude Noah's genuine warmth and sensitivity as well. And between the two of them real sparks fly as the actors paint a fresh and inviting picture of young love that stands the test of time. Marsden is completely wasted however as Allie's fiancé Lon a upstanding Southern gentleman Allie's parents expect her to marry who offers little as to why Allie should stay with him. As the older contingency veterans Garner and Rowlands who take the sappiest material and turn it into something meaningful inspire some truly heart-ripping moments as the aging couple holding onto their love as tight as they can. In the supporting cast Joan Allen has some shining moments as Allie's uptight mother with a secret of her own.
In bringing the popular novel about enduring love to life director Nick Cassavetes (Unhook the Stars) may have used his own experiences having seen his parents--the late John Cassavetes and his lady love and muse Gena Rowlands--play out their own real-life love affair. Cassavettes gets to the heart of the material right away and permeates the screen with the beautiful surroundings of South Carolina where The Notebook was filmed. We glide through lush moss-filled swamps and sleepy Southern towns marvel at languid shots of the South Carolina coastline. It's very clear Cassavetes has a way with actors much like his father did gently coaxing realistic performances from his young somewhat untested leads while allowing old guards like Garner and Rowlands to simply work their magic (imagine telling your Oscar-nominated mother how to act. Right). The problem is the story itself which not only offers nothing new to the romance genre but also isn't very compelling. There are no great tragedies (save perhaps for the whole dementia thing) no real villainous presence to keep the lovers apart no peril at all. It's boy-meets-girl boy-loses-girl boy-wins-girl-back--ho-hum. Where's the sudsy soap opera when you need it?