Forget actors for once. Sunday night marked the night of awards season when we got to focus on the best musical artists of the year. That's right — it was the 55th annual Grammy Awards! And it was one hell of a show. From Adele to Mumford & Sons to Frank Ocean, the best of the best in the industry walked away with awards.
Check out the full list of winners below!
RELATED: Kim Kashkashian Wins A Grammy?!
Winners Announced Live:
1. Best Pop Solo Performance: "Set Fire To The Rain [Live]," Track from: Live At The Royal Albert Hall, Adele
2. Best Country Solo Performance: "Blown Away," Track from: Blown Away, Carrie Underwood
3. Song Of The Year: "We Are Young," Track from: Some Nights, Jack Antonoff, Jeff Bhasker, Andrew Dost, and Nate Ruess, songwriters (Fun. Featuring Janelle Monáe)
4. Best Urban Contemporary Album: Channel Orange, Frank Ocean
5. Best Rock Performance: "Lonely Boy," Track from: El Camino, The Black Keys
6. Best Pop Vocal Album: Stronger, Kelly Clarkson
7. Best Rap/Sung Collabortion: "No Church In The Wild," Track from: Watch The Throne, Jay-Z and Kanye West Featuring Frank Ocean and The-Dream
8. Best Country Album: Uncaged, Zac Brown Band
9. Best New Artist: fun.
10. Record Of The Year: "Somebody That I Used To Know," Track from: Making Mirrors, Gotye Featuring Kimbra
11. Album Of The Year: Babel, Mumford & Sons
1. Best Pop Duo/Group Performance: Gotye Featuring Kimbra, Track from: Making Mirrors
2. Best Pop Instrumental Album: Impressions, Chris Botti
3. Best Dance Recording: "Bangarang," Track from: Bangarang, Skrillrex Featuring Sirah
4. Best Dance/Electric Album: Bangarang, Skrillex
5. Best Traditional Pop Vocal Album: Kisses On The Bottom, Paul McCartney
6. Best Hard Rock/Metal Performance: "Love Bites (So Do I)," Track from: The Strange Case Of..., Halestorm
7. Best Rock Song: "Lonely Boy," Track from: El Camino, Dan Auerbach, Brian Burton, and Patrick Carney, songwriters (The Black Keys)
8. Best Rock Album: El Camino, The Black Keys
9. Best Alternative Music Album: Making Mirrors, Gotye
10. Best R&B Performance: "Climax," Track from: Looking 4 Myself, Usher
11. Best Traditional R&B Performance: "Love On Top," Track from: 4, Beyonce
12. Best R&B Song: "Adorn," Miguel Pimentel
13. Best R&B Album: Black Radio, Robert Glasper Experiment
14. Best Rap Performance: "N****s In Paris," Track from: Watch The Throne, Jay-Z and Kanye West
15. Best Rap Song: "N****s In Paris," Track from: Watch The Throne, Shawn Carter, Mike Dean, Chauncey Hollis, and Kanye West, songwriters (W.A. Donaldson, songwriter) (Jay-Z & Kanye West)
16. Best Rap Album: Take Care, Drake
17. Best Country Duo/Group Performance: "Pontoon," Little Big Town
18. Best Country Song: "Blown Away," Blown Away, Josh Kear and Chris Tompkins, songwriters (Carrie Underwood)
19. Best New Age Album: Echoes Of Love, Omar Akram
20. Best Improvised Jazz Solo: "Hot House," Track from: Hot House, Gary Burton and Chick Corea
21. Best Jazz Vocal Album: Radio Music Society, Esperanza Spalding
22. Best Jazz Instrumental Album: Unity Band, Pat Metheny Unity Band
23. Best Large Jazz Ensemble Album: Dear Diz (Everyday I Think Of You), Arturo Sandoval
24. Best Latin Jazz Album: ¡Ritmo!, The Clare Fischer Latin Jazz Big Band
25. Best Gospel/Contemporary Christian Music Performance: "10,000 Reasons (Bless The Lord," Track from: 10,000 Reasons, Matt Redman
26. Best Gospel Song: "Go Get It," Erica Campbell, Tina Campbell, and Warryn Campbell, songwriters (Mary Mary)
27. Best Contemporary Christian Music Song: "10,000 Reasons (Bless The Lord)," Track from: 10,000 Reasons, Jonas Myrin and Matt Redman, songwriters (Matt Redman)
28. Best Gospel Album: Gravity, Lecrae
29. Best Contemporary Christian Music Album: Eye On It, TobyMac
30. Best Latin Pop Album: MTV Unplugged Deluxe Edition, Juanes
31. Best Latin Album, Urban Or Alternative Album: Imaginaries, Quetzal
32. Best Regional Mexican Music Album (Including Tejano): Pecados Y Milagros, Lila Downs
33. Best Tropical Latin Album: Retro, Marlow Rosado Y La Riquena
34. Best Americana Album: Slipstream, Bonnie Raitt
35. Best Bluegrass Album: Nobody Knows You, Steep Canyon Rangers
36. Best Blues Album: Locked Down, Dr. John
37. Best Folk Album: The Goat Rodeo Sessions, Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile
38. Best Regional Roots Music Album: The Band Courtbouillon, Wayne Toups, Steve Riley, and Wilson Savoy
39. Best Reggae Album: Rebirth, Jimmy Cliff
40. Best World Music Album: The Living Room Sessions Part 1, Ravi Shankar
41. Best Children's Album: Can You Canoe?, The Okee Dokee Brothers
42. Best Spoken World Album: Society's Child: My Autobiography, Janis Ian
43. Best Comedy Album: Blow Your Pants Off, Jimmy Fallon
44. Best Musical Theater Album: Once: A New Musical, Steve Kazee and Cristin Milioti, principal soloists; Steven Epstein and Martin Lowe, producers (Glen Hansard and Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti, and Others)
45. Best Compilation Soundtrack For Visual Media: Midnight In Paris, Various Artists
46. Best Score Soundtrack For Visual Media: The Girl With The Dragon Tattoo, Trent Reznor & Atticus Ross, composers
47. Best Song Written For Visual Media: Safe & Sound (From The Hunger Games), T Bone Burnett, Taylor Swift, John Paul White, and Joy Williams, songwriters (Taylor Swift Featuring The Civil Wars)
48. Best Instrumental Composition: "Mozart Goes Dancing," Track from: Hot House, Chick Corea
49. Best Instrumental Arrangement: "How About You," Track from: Centennial - Newly Discovered Works Of Gil Evans, Gil Evans, arranger (Gil Evans Project)
50. Best Instrumental Arrangement Accompanying Vocalist(s): "City Of Roses," Track from: Radio Music Society, Thara Memory and Esperanza Spalding, arrangers (Esperanza Spalding)
51. Best Recording Package: Biophilia, Michael Amzalag and Mathias Augustyniak, art directors (Björk)
52. Best Boxed Or Special Limited Edition Package: Woody At 100: The Woody Guthrie Centennial Collection, Fritz Klaetke, art director (Woody Guthrie)
53. Best Album Notes: Singular Genius: The Complete ABC Singles, Billy Vera, album notes writer (Ray Charles)
54. Best Historical Album: The Smile Sessions (Deluxe Box Set), Alan Boyd, Mark Linett, Brian Wilson, and Dennis Wolfe, compilation producers; Mark Linett, mastering engineer (The Beach Boys)
55. Best Engineered Album, Non-Classical: The Goat Rodeo Sessions, Richard King, engineer; Richard King, mastering engineer (Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile)
56. Producer Of The Year, Non-Classical: Dan Auerbach, El Camino (The Black Keys), Locked Down (Dr. John), Savage (Hacienda), Shakedown (Hacienda)
57. Best Remixed Recording, Non-Classical: "Promises (Skrillex & Nero Remix)," Skrillex, remixer (Nero), Joseph Ray, Skrillex, and Daniel Stephens, remixers
58. Best Surround Soung Album: Modern Cool, Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Michael Friedman, surround producer (Patricia Barber)
59. Best Engineered Album, Classical: Life & Breath - Choral Works By René Clausen, Tom Caulfield and John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy and Kansas City Chorale)
60. Producer Of The Year: Blanton Alspaugh, Chamber Symphonies (Gregory Wolynec & Gateway Chamber Orchestra), Davis: Río De Sangre (Joseph Rescigno, Vale Rideout, Ava Pine, John Duykers, Kerry Walsh, Guido LeBron, The Florentine Opera Company & Milwaukee Symphony Orchestra), Gjeilo: Northern Lights (Charles Bruffy & Phoenix Chorale), In Paradisum (Brian A. Schmidt & South Dakota Chorale), Life & Breath - Choral Works By René Clausen (Charles Bruffy & Kansas City Chorale), Music For A Time Of War (Carlos Kalmar & The Oregon Symphony, Musto: The Inspector (Glen Cortese & Wolf Trap Opera Company)
61. Best Orchestral Performance: "Adams: Harmonielehre & Short Ride In A Fast Machine," Michael Tilson Thomas, conductor (San Francisco Symphony)
62. Best Opera Recording: "Wagner: Der Ring Des Nibelungen," James Levine and Fabio Luisi, conductors; Hans-Peter König, Jay Hunter Morris, Bryn Terfel and Deborah Voigt; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
63. Best Choral Performance: "Life & Breath - Choral Works By René Clausen," Charles Bruffy, conductor (Matthew Gladden, Lindsey Lang, Rebecca Lloyd, Sarah Tannehill, and Pamela Williamson; Kansas City Chorale)
64. Best Chamber Music/Small Ensemble Performance: "Meanwhile," Eighth Blackbird
65. Best Classical Instrumental Solo: "Kurtág & Ligeti: Music For Viola," Kim Kashkashian
66. Best Classical Vocal Solo: "Poèmes," Renée Fleming (Alan Gilbert and Seiji Ozawa; Orchestre National De France & Orchestre Philharmonique De Radio France)
67. Best Classical Compendium: "Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob; Anaklasis," Antoni Wit, conductor; Aleksandra Nagórko and Andrzej Sasin, producers
68. Best Contemporary Classical Composition: "Hartke, Stephen: Meanwhile - Incidental Music To Imaginary Puppet Plays," Track from: Meanwhile, Stephen Hartke, composer (Eighth Blackbird)
69. Best Short Form Music Video: "We Found Love," Rihanna Featuring Calvin Harris
70. Best Long Form Music Video: "Big Easy Express," Mumford & Sons
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Kevork Djansezian/Getty Images]
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It was the trickle of pee heard around the world. Cannes attendees were aghast and/or amused an infamous scene from The Paperboy that shows Nicole Kidman urinating on Zac Efron; this is apparently a great salve for jellyfish burns which were covering our Ken Doll-like protagonist. (In fact the term protagonist should be used very loosely for Efron's character Jack who is mostly acted upon than active throughout.)
Lurid! Sexy! Perverse! Trashy! Whether or not it's actually effective is overshadowed by all the hubbub that's attached itself to the movie for better or worse. In fact the movie is all of these things — but that's actually not a compliment. What could have become somethingmemorable is jaw-droppingly bad (when it's not hilarious). Director Lee Daniels uses a few different visual styles throughout from a stark black and white palette for a crime scene recreation at the beginning to a '70s porno aesthetic that oscillates between psychedelic and straight-up sweaty with an emphasis on Efron's tighty-whiteys. This only enhances the sloppiness of the script which uses lines like narrator/housekeeper/nanny Anita's (Macy Gray) "You ain't tired enough to be retired " to conjure up the down-home wisdom of the South. Despite Gray's musical talents she is not a good choice for a narrator or an actor for that matter. In a way — insofar as they're perhaps the only female characters given a chunk of screen time — her foil is Charlotte Bless Nicole Kidman's character. Anita is the mother figure who wears as we see in an early scene control-top pantyhose whereas Charlotte is all clam diggers and Barbie doll make-up. Or as Anita puts it "an oversexed Barbie doll."
The slapdash plot is that Jack's older brother Ward (Matthew McConaughey) comes back to town with his colleague Yardley (David Oyelowo) to investigate the case of a death row criminal named Hillary Van Wetter. Yardley is black and British which seems to confuse many of the people he meets in this backwoods town. Hillary (John Cusack) hidden under a mop of greasy black hair) is a slack-jawed yokel who could care less if he's going to be killed for a crime he might or might not have committed. He is way more interested in his bride-to-be Charlotte who has fallen in love with him through letters — this is her thing apparently writing letters and falling in love with inmates — and has rushed to help Ward and Yardley free her man. In the meantime we're subjected to at least one simulated sex scene that will haunt your dreams forever. Besides Hillary's shortcomings as a character that could rustle up any sort of empathy the case itself is so boring it begs the question why a respected journalist would be interested enough to pursue it.
The rest of the movie is filled with longing an attempt to place any the story in some sort of social context via class and race even more Zac Efron's underwear sexual violence alligator innards swamp people in comically ramshackle homes and a glimpse of one glistening McConaughey 'tock. Harmony Korine called and he wants his Gummo back.
It's probably tantalizing for this cast to take on "serious" "edgy" work by an Oscar-nominated director. Cusack ditched his boombox blasting "In Your Eyes" long ago and Efron's been trying to shed his squeaky clean image for so long that he finally dropped a condom on the red carpet for The Lorax so we'd know he's not smooth like a Ken doll despite how he was filmed by Daniels. On the other hand Nicole Kidman has been making interesting and varied career choices for years so it's confounding why she'd be interested in a one-dimensional character like Charlotte. McConaughey's on a roll and like the rest of the cast he's got plenty of interesting projects worth watching so this probably won't slow him down. Even Daniels is already shooting a new film The Butler as we can see from Oprah's dazzling Instagram feed. It's as if they all want to put The Paperboy behind them as soon as possible. It's hard to blame them.
Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.
Easy A a teen sex comedy with no actual sex aims rather conspicuously to plumb the best bits of Diablo Cody and Alexander Payne in its upside-down self-consciously campy take on Nathaniel Hawthorne’s The Scarlet Letter. In the role of its high-school Hester Prynne is Emma Stone the sly husky heroine of last year’s surprise hit Zombieland. Tested by a film that is far less clever than its director Will Gluck or screenwriter Bert Royal would have us believe (and they desperately want us to believe) she passes with flying colors delivering a performance that should elevate her into the upper echelon of actresses possessing brains and beauty in equal measure.
Stone plays Olive the kind of quick-witted hyper-literate teen that our educational system produces in ever-diminishing numbers. (If it ever produced them to begin with.) More knowing and sophisticated than others her age she is nonetheless not immune to the pressure of peers and the dread of being labeled a loser. Under duress by a prying friend (Aly Michalka) to dish the details of her birthday weekend a rather mundane affair mainly spent jumping on her bed to the tune of Natasha Bedingfield’s pop monstrosity “Pocket Full of Sunshine ” she feels compelled to embellish a bit and concocts an entirely fictional account of losing her virginity (dubbed the “V-Card” by Royal trying too hard) to a boy from a junior college across town.
Word of Olive’s deflowering spreads with startling speed aided by the incessant rumor-mongering of a catty Evangelical eavesdropper (Amanda Bynes). Suddenly branded a tramp on account of a seemingly harmless little lie Olive opts to embrace her newly tarnished reputation and put it to good use. In a viciously stratified social environment where even the most awkward acne-plagued pariah can earn respect and even admiration from members of the upper castes for having gone All the Way Olive anoints herself the Mother Theresa of (fake) sluts bestowing her blessing upon downtrodden gents in need of a reputation boost. And she resolves to look the part too traipsing around in scandalous bustiers and affixing the letter “A” to her chest.
There are limits to Easy A’s Scarlet Letter conceit overly Glee-ful tone forced repartee and pop-culture references (John Hughes is invoked so many times he should get a producer credit). Which is why director Gluck must be grateful to have found Stone who handles the verbal calisthenics of Royal’s script with charm and verve and a certain effortless appeal that keeps us engaged even as the film wallows in contrived irony and heavy-handedness. Keep your eye on her.
Actors Woody Harrelson and Kyle MacLachlan are the latest film stars to try their luck on stage in London's West End. The two will appear in American playwright John Kolvenbach's On an Average Day, which opens Aug. 7 at the Comedy Theater. Harrelson and MacLachlan join an exodus of stars who have made London stage debuts in the past month, including Gwyneth Paltrow, Madonna, Matt Damon, Hayden Christensen and Anna Paquin. X-Files star Gillian Anderson is also expected to appear in a new play by American writer Michael Weller, and Glenn Close makes her National Theater debut in A Streetcar Named Desire in late October, Variety reports.
While some stars choose to leave the country, it seems others are being forced. British actor Steven Berkoff, who was scheduled to perform in his one-man play, Shakespeare's Villains, in Ann Arbor and Grand Rapids, Mich., this week, was deported before he could take the stage, The Associated Press reports. The U.S. Immigration and Naturalization Service deported the actor on allegations that he had violated the stipulations of a previous work visa issued in 1997.
Former Beatle Paul McCartney took time out of his honeymoon with Heather Mills to write to the top 100 shareholders of McDonald's, asking them to persuade the company to apply its U.S. animal welfare standards to its restaurants worldwide, the AP reports. The letter was released Thursday by the animal- ights organization People for the Ethical Treatment of Animals (PETA).
Juwanna Mann star Vivica A. Fox has filed for divorce from her husband of almost four years, Christopher Harvest. The 37-year-old actress, who starred in Independence Day and Batman & Robin, filed her petition at the Los Angeles County Courthouse on Thursday.
Warner Bros. is remaking the 1979 comedy The In-Laws to be directed by Andy Fleming, Variety reports. Till Death Do Us Part will star Michael Douglas, Albert Brooks and Van Wilder's Ryan Reynolds. Lindsay Sloane is in final negotiations to star. Shooting begins in Toronto in mid-July.
Traffic scribe Stephen Gaghan has signed on to rewrite Ron Howard's upcoming period film The Alamo, which was originally written by John Sayles. The Disney picture is expected to deal with the Alamo's historical complexities--including the Mexican point of view--that weren't seen in the1960 John Wayne version of the film. Russell Crowe is in final negotiations to star.
Apparently there is a whole world out there for tabloid TV host Jerry Springer to conquer. According to the AP, Springer will host a weekly late-night show in South Africa later this year. Jerry Springer Saturday Night promises to be more traditional than his popular American show and will feature interviews with celebrities, an opening monologue and a live studio audience.
Timothy White, the influential editor of Billboard magazine, died of an apparent heart attack on Thursday at the age of 50, Reuters reports. White collapsed at Billboard's New York headquarters and was rushed to St. Vincent's hospital, where he was pronounced dead. The magazine had its most profitable and critically acclaimed run under White, who also wrote a weekly column considered a must-read by many in the music industry. His final column will appear in Billboard's July 6 issue, which hits newsstands Friday.