Tonight the VMAs celebrate their 30th anniversary with sure-to-be buzzworthy performances from Lady Gaga, Daft Punk, Justin Timberlake, Kanye West, and more. What will Gaga do to top her hanging-from-a-meathook performance of "Paparazzi" in 2009, her meat dress in 2010? Will Stephen Colbert appear with Daft Punk after they bailed on him earlier this month? We'll soon find out. There are always some VMAs shockers every year, and tonight will undoubtedly be no exception. To celebrate 30 years of the awards show, we've rounded up the 10 Most Controversial VMAs Moments ever, from Madonna kissing Britney Spears to Kanye West interrupting Taylor Swift and more. Click on the photo below to access the gallery.
Christopher Polk/Getty Images
The 10 Most Controversial VMAs Moments Ever
More: Who Would Win Today in These Retired VMAs Categories? Will There Be a Surprise *NSYNC Reunion at the VMAs? All the People Lady Gaga Imitated in Her ‘Applause’ Video: Madonna, Cher, and Botticelli?
From Our PartnersStars Pose Naked for 'Allure' (Celebuzz)20 Grisliest TV Deaths of 2012-2013 (Vulture)
Beneath the glossy sheen of Zac Efron there exists the makings of quite a fine actor glimpses of which were seen in both the blockbuster comedy 17 Again and the indie drama Me and Orson Welles. His transition out of the Disney-fied teen-dream world and into more adult-oriented projects is a gradual uneasy one as is evidenced by his latest film the metaphysical drama Charlie St. Cloud which finds him perched squarely in between the two camps. Efron it appears is in that awkward stage.
In Charlie St. Cloud Efron plays the title character a carefree college-bound sailing star whose bright future is torpedoed when an awful auto wreck takes the life of his beloved kid brother Sam (Charlie Tahan). Charlie at the wheel of the car at the time of the crash briefly dies himself only to be wrested from a flatline by a particularly stubborn and spiritual EMT (Ray Liotta).
Years later Charlie’s body has made a full recovery but his mind remains plagued by some nasty after-effects of the tragedy. He’s given up sailing ditched his college plans gotten a job at a cemetery and taken up the habit of holding regular conversations with dead people — specifically his brother Sam with whom he meets daily in a forest clearing to play catch. Usually such mental deterioration coincides fairly closely with physical deterioration which is why you don’t encounter a lot of well-groomed paranoid schizophrenics on skid row. But Charlie has kept up with his workout and grooming regimens earning a reputation among the residents of his sleepy Pacific Northwest town as a sort of beautiful nutcase.
Unable to escape his all-consuming grief Charlie seems doomed to retreat further into isolation and despair until salvation arrives wrapped in a cardigan: Tess (Amanda Crew) a feisty pro sailor and no stranger to tragedy herself can see beyond Charlie’s unhinged persona to the sensitive troubled and irresistibly hot man that lies beneath. As their relationship deepens Charlie is increasingly torn between his imaginary friends and his real-life love.
It’s a noble aim giving tweens questions deeper than just “Edward or Jacob?” to contemplate and Charlie St. Cloud’s principal message “life is for living ” is a worthwhile one. But director Burr Steers having learned from the success of 17 Again clearly knows where his bread is buttered and so he takes care to sate the demands of Efron’s screeching fanbase by stocking the film with ample glowing shots of his star lovingly lit and clad invariably in a light blue solid color shirt and emoting against a picturesque coastal landscape. (Lest you think I'm exaggerating check out this studio-supplied promo clip featuring an interview with a shirtless Efron.) The awkward mix of existential drama and Abercrombie & Fitch commercial combined with a healthy dose of loopy Sixth Sense-esque supernatural shenanigans tossed in toward the end makes for an experience only the most fawning of Efron’s fans could enjoy.
For almost two decades Hollywood has failed to adapt Ayn Rand's 1,100 page epic Atlas Shrugged, which tells the story of Dagny Taggart, an industrialist struggling in a dystopian America where society's most enterprising innovators, led by the enigmatic John Galt, are disappearing in response to an increasingly centralized, socialist government. Despite attracting a number of potential big stars over the years - Angelina Jolie, Brad Pitt, Robert Redford, Clint Eastwood, the list goes on - the project has continually stalled.
However, entrepreneur John Aglialoro, who bought the rights to the book back in 1992 for one million dollars, now plans to begin work on the film himself, though he still has no cast. Aglialoro, who helped pen the script with writer Brian O'Tool, is reportedly moving ahead with novice director Stephen Polk. Though Aglialoro claims he's working to court Charlize Theron or Maggie Gyllenhaal for the role of Taggart, neither is yet confirmed.
Undeterred, Polk says they plan to push ahead with production even if they can't attract A-list talent. “For more than 15 years, this has been at studios and there has been a whole dance around who’ll play the iconic roles,” said Polk. “Everybody is saying, how can you shoot this movie without a star? We’re shooting it because it’s a good movie with great characters. We've been in pre-production for months, but kept it a mystery."
Of course, it is not unheard of for independent films to get off the ground in this manner. But the parallels between Aglialoro's uncompromising gusto in undertaking this project independently and the individualist ethos of Rand's work make this quixotic endeavor particularly intriguing. Still, the rush to begin production could just be a ploy to keep an option on the material from expiring.
Although Rand's Atlas Shrugged has been lauded by a diverse readership since its publication in 1957, it's interesting timing in liberal Hollywood for a story that has historically appealed to conservative and libertarian readers. Even if the film flops, one wonders if the story's message could be co-opted by the burgeoning 'tea-party' movement. Stay tuned.
We meet the two very unlikely sisters while each are having sex. Rose Feller (Toni Collette) is a successful lawyer who is sleeping with her boss and thinking of ways it can improve her career. Maggie Feller (Cameron Diaz) is a party girl and at her 10-year high school reunion--after trying to have a fling in a bathroom stall--she ends up puking instead. Inevitably Maggie gets kicked out of her dad and stepmother's house and winds up on the doorstep of her sister. The Feller girls were close once when they were young girls especially after their mentally unstable mother died. But now their grown-up personalities clash rather dramatically. And when Maggie seriously crosses the line by seducing Rose's new boyfriend the straw is broken. Forced out Maggie stumbles upon some birthday cards from a long-lost grandmother and decides to go hit her up for cash. Turns out Grandma Ella (Shirley MacLaine) lives in a senior citizen's community in Florida that gets its humor from Golden Girls re-runs. Maggie may ingratiate herself within this new environment but isn't any more redeemed by reconnecting with Ella. She still acts like a petulant child. But rather than throwing her out Ella along with the gang of old folk forces Maggie to take some responsibility.
Collette (The Sixth Sense) is fantastic as the frumpy pudgy Philadelphia lawyer who gives up everything so she can walk dogs and lead a simpler life. But she's done this many times before--and honestly is so much better than Muriel's Wedding. Diaz (my personal favorite Charlie's Angel) doesn't need to stretch too far to play a conniving ditz with a heart. This is her There's Something About Mary role albeit a tad more screwed-up with a sister and lost grandma. So that leaves MacLaine as the saving grace for any worthwhile acting in this movie. Despite the obvious shuffleboard clichés--and the occasional leers at Diaz by the old guys around the pool--when the old folk are around the film gets lively and tolerable believe it or not. MacLaine leads the way with the quips and barbs but in a more subtle way than we are used to from this usually eccentric actress. The supporting cast of cranky cronies have some great moments especially veteran actor Norman Lloyd as the blind professor who teaches Maggie a thing or two about manners trust and family.
If this were Nora Ephron directing that would have been one thing but coming from Curtis Hanson the Oscar-winner who gave us L.A. Confidential it just doesn't mesh. Hanson can do quirky (Wonder Boys) he can do adventure (The River Wild) he can do hard-hittin' rap stories (8 Mile) and he can even do scary (Hand That Rocks the Cradle) but why in the world would he attempt a saccharine-soaked female family story that threatens to be a Crimes of the Heart tear-jerker? Screenwriter Susannah Grant who adapted In Her Shoes from Jennifer Weiner's popular bestseller of the same name also wrote Erin Brockovich and 28 Days. She understands strong female characters but there's still a major layer of sugar coating that Hanson can't scrape off. He doesn't tone anything down from Grant's script--not the overly cute dogs nor the embarrassing bridal shower nor the expected moments of guilt-tripping between the ladies. Instead he plods through the paint-by-number script and wraps it all up nicely into a crowd-pleasing film that is ultimately forgettable.