Finally, Channing Tatum's torso gets its due: After getting snubbed all award season long, the genius (and abs) of Magic Mike managed to garner three separate nominations for the 2013 MTV Movie Awards. While the list of nominees includes plenty of expected names (America's BFF Jennifer Lawrence, America's annoying theater kid Anne Hathaway, America's hot dad Ben Affleck), it also includes several fan-favorite selections that weren't quite Oscar-worthy (Perks of Being a Wallflower, Pitch Perfect).
Leading the honors with seven nominations each are Quentin Tarantino’s Django Unchained and Seth MacFarlane’s Ted, followed by Silver Linings Playbook with six nominations and The Dark Knight Rises with five. Rounding out the most-nominated films are The Avengers, The Perks of Being a Wallflower, Pitch Perfect, and Skyfall with four each. Check out the full list of nominations below:
MOVIE OF THE YEARDjango UnchainedSilver Linings PlaybookTEDThe AvengersThe Dark Knight Rises
BEST FEMALE PERFORMANCEAnne Hathaway – Les MisérablesMila Kunis – TEDJennifer Lawrence – Silver Linings PlaybookEmma Watson – The Perks of Being a WallflowerRebel Wilson – Pitch Perfect
BEST MALE PERFORMANCEBen Affleck – ArgoBradley Cooper – Silver Linings PlaybookDaniel Day-Lewis – LincolnJamie Foxx – Django UnchainedChanning Tatum – Magic Mike
BREAKTHROUGH PERFORMANCEEzra Miller – The Perks of Being a WallflowerEddie Redmayne - Les MisérablesSuraj Sharma – Life of PiQuvenzhané Wallis – Beasts of the Southern WildRebel Wilson – Pitch Perfect
BEST SCARED-AS-S**T PERFORMANCEJessica Chastain – Zero Dark ThirtyAlexandra Daddario – Texas Chainsaw 3DMartin Freeman – The Hobbit: An Unexpected JourneyJennifer Lawrence – House at the End of the StreetSuraj Sharma – Life of Pi
BEST ON-SCREEN DUOLeonardo DiCaprio and Samuel L. Jackson – Django UnchainedBradley Cooper and Jennifer Lawrence – Silver Linings PlaybookMark Wahlberg and Seth MacFarlane as Ted – TedRobert Downey Jr. and Mark Ruffalo – The AvengersWill Ferrell and Zach Galifianakis – The Campaign
RELATED: Rebel Wilson to Host the 2013 MTV Movie Awards
BEST SHIRTLESS PERFORMANCEChristian Bale – The Dark Knight RisesDaniel Craig – SkyfallTaylor Lautner – The Twilight Saga: Breaking Dawn – Part 2Seth MacFarlane as Ted – TedChanning Tatum – Magic Mike
BEST FIGHTJamie Foxx vs. Candieland Henchmen – Django UnchainedDaniel Craig vs. Ola Rapace – SkyfallMark Wahlberg vs. Seth MacFarlane as Ted – TedRobert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson and Jeremy Renner vs. Tom Hiddleston – The AvengersChristian Bale vs. Tom Hardy – The Dark Knight Rises
BEST KISSKerry Washington and Jamie Foxx – Django UnchainedKara Hayward and Jared Gilman – Moonrise KingdomJennifer Lawrence and Bradley Cooper – Silver Linings PlaybookMila Kunis and Mark Wahlberg – TedEmma Watson and Logan Lerman – The Perks of Being a Wallflower
BEST WTF MOMENTJamie Foxx and Samuel L. Jackson – “Candieland Gets Smoked” in Django UnchainedDenzel Washington – “Final Descent” in FlightAnna Camp – “Hack-Appella” in Pitch PerfectJavier Bardem – “Oops… There Goes His Face” in SkyfallSeth MacFarlane as Ted – “Ted Gets Saucy” in Ted
BEST VILLAINJavier Bardem – SkyfallLeonardo DiCaprio – Django UnchainedMarion Cotillard – The Dark Knight RisesTom Hardy – The Dark Knight RisesTom Hiddleston – The Avengers
BEST MUSICAL MOMENTAnne Hathaway – Les MisérablesChanning Tatum, Matt Bomer, Joe Manganiello, Kevin Nash and Adam Rodriguez – Magic MikeAnna Kendrick, Rebel Wilson, Anna Camp, Brittany Snow, Alexis Knapp, Ester Dean and Hana Mae Lee – Pitch PerfectBradley Cooper and Jennifer Lawrence – Silver Linings PlaybookEmma Watson, Logan Lerman and Ezra Miller – The Perks of Being a Wallflower
Voting for all categories began today and continues through Saturday, April 13, at MovieAwards.MTV.com.
Rebel Wilson, nominated for “Best Female Performance” and “Breakthrough Performance” as Fat Amy in Pitch Perfect, will host and be joined by MTV’s Inaugural “Comedic Genius Award” recipient Will Ferrell, who is nominated for “Best On-Screen Duo” with Zach Galifianakis for The Campaign.
The 2013 MTV Movie Awards will air live on Sunday, April 14 at 9 PM ET on MTV.
Follow Sydney on Twitter: @SydneyBucksbaum
[Photo Credit: The Weinstein Company]
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The latest movie in the Step Up franchise aims for a politicized message behind all the flashy moves but it could do with a lot less plot and a lot more dancing. In Step Up Revolution the Miami dance group "The Mob" takes to the streets (and other random locations) to perform intricately choreographed routines with their own DJ a camera guy who uploads their videos to YouTube and a graffiti artist who leaves their signature behind. It takes at least that much effort just to get hipster New Yorkers to ride the subways without any pants on once a year; it's hard to believe that The Mob could pull off their elaborate schemes without getting caught but that's the magic of movies.
The Mob represents the more diverse working class side of Miami a young multiracial group of friends who create incredible works of art that disappear before they get shut down. One of the Mob's leaders Sean (Ryan Guzman) earnestly explains to newcomer Emily (Kathryn McCormick) that the group's reason is to give a voice to the voiceless or to be happy or to dance or something. It's not really clear but they have a lot of fun and look amazing doing it.
Once Sean and his friends find out that a greedy developer plans to raze their neighborhood to make way for another South Beach-style hotel monstrosity they have a reason to rally but until then they're just trying to win a cash prize by getting clicks on YouTube. The typical Step Up twist is that Emily is the developer's daughter. Mr. Anderson (Peter Gallagher) doesn't approve of Emily's love of dancing or other frippery and he certainly wouldn't approve of her hanging out with the people causing such mayhem in the streets of Miami.
Step Up Revolution biggest misstep is trying to give the movie more of a hook than the franchise's typical Romeo and Juliet-style love story and tap into "the Zeitgeist" (I swear that's from the studio-provided press notes) of flash mobs. The film could have cut out most of the plot and characters and still have a completely intact film insofar as the point of the film is its multimedia dance routines. The sort of productions The Mob pulls off are more akin to carefully planned art installations or music videos in terms of scope; it would have been better to at least make that somehow feasible in terms of the storyline. Yes we are here for a spectacle and we surely get a spectacle but it needs to have some roots in reality.
The dance scenes are fun sexy and occasionally a little sappy but overall quite enjoyable for people who enjoy "So You Think You Can Dance" type of shows. Kathryn McCormick and Stephen "tWitch" Boss both appeared on "SYTYCD" and their costar Misha Gabriel is a classically trained ballet dancer turned pro back-up dancer for folks like Beyoncé and Michael Jackson. Guzman doesn't have a dance background but he is an MMA fighter who obviously took his training very seriously. The entire outfit is pretty damn entertaining to be honest.
As far as the 3D goes it makes most of Miami look overcast and grey. The extra zings added in to make sure we get our money's worth like sand flicking out at us or a breakdancer whose foot seems to be aiming for our face only serves to distract from the real show at hand. There is also an awful lot of ramping and generally spazzy editing tricks that look cheap. The screenplay by Amanda Brody is definitely not its strong suit.
Step Up Revolution is the cinematic equivalent of a trashy beach novel. It's embarrassing to be caught actually enjoying it and you'll forget about it almost immediately but it's a decent way to spend a summer afternoon.
Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.
It’s that time of year again, when the worst movies are behind us and all that remains is December’s slate of Oscar bait and innocuous family fare. Granted, we still have to endure the likes of Gulliver’s “Jonathan Swift Will Be Rolling in His Grave” Travels and Yogi “Hanna and Barbera Will Be Rolling in Their Graves” Bear -- but still, it’s pretty safe to say that neither will compare to some of the monstrosities that came between January and November. In the spirit of Thanksgiving, we present the turkeys of the year (aka the worst movie of 2010).
The Bounty Hunter
With Jennifer Aniston’s steady flow of rom-com failures, it’s almost as if millions of Friends fans have declared, “You’re not getting a dime from us until you do the Friends movie!” And following the God-awful Bounty Hunter, she simply has to be closer than ever to taking part in, if not flat-out begging for, a big-screen version of the beloved sitcom. Hasn’t she?! Bounty Hunter wasn’t just her fault, however; frankly, no one should be proud of this ill-conceived (it’s like a reimagining of the unimaginably bad Bird on a Wire), terribly cast (Dear Hollywood: Gerard Butler is not the next Hugh Grant) mess (director Andy Tennant wants his mainstream, PG-13 romantic comedy to be gritty -- At least that’s funny). Killers and Sex and the City 2 have Bounty Hunter -- and our decision to limit this list to five movies -- to thank for not making the cut.
It’s hard to hate Adam Sandler. He’s shown off serious acting chops in movies like Punch Drunk Love and even Funny People, and he seems like such a good friend -- I mean look at the way he continues to find roles for his otherwise unemployable fallen-comedian buddies. (And WTF would director Dennis Dugan be doing if the Sand Man didn’t get a $20 million itch every year? A straight-to-OnDemand Benchwarmers threequel?) BUT, that doesn’t mean each of Sandler’s “Adam Sandler” movies is anything less than atrocious, and this summer’s Grown Ups was no exception. Sure, it wasn’t quite Chuck and Larry bad, but the easy, crude, broad gags were again in overabundant supply -- and again not even chuckle-worthy. It was the logical next step in Sandler’s manchild shtick, whose regression has truly reached its trough but whose box office numbers haven’t yet peaked. Translation: We get TWO Sandler movies next year. Tally-hoo-hoo! (Or some other Sandleristic show of excitement by way of baby talk.)
Quantity of A-listers is not proportional to quality of movie. Aside from reminding us of that, Valentine’s Day was utterly useless -- and very, very, VERY bad. The rom-com enlisted everyone from Julia Roberts (whose screen time could [mercifully] be counted on one hand) to Taylors Swift and Lautner, but veteran cheeseball director Garry Marshall’s sole focus seemed to be on making all the pretty faces on the roster look pretty on the screen -- which is a shame because there was actually some borderline talent available. Nothing much goes on in the movie, a kitschy, superficial joke under the guise of a quasi-intertwining love polygon. It reeks of a Hollywood scam: Just feed moviegoers a bunch of big names and dare them to resist a rom-com event like this on Valentine’s Day! Story? Eh, who cares? And with a sequel already on the way … well, I guess we all lose?
Almost every movie disaster qualifies as a failure in only one category: financially or critically. This summer’s Jonah Hex (remember it?), however, bombed in both departments, to an almost historic degree. It had the makings of a surefire hit: great lead actor (Josh Brolin); hot starlet/gossip fodder du jour (Megan Fox); and lucrative hook (“based on the comic book”). Then the trailer hit the Internet. Soon thereafter, the movie had to come out, too, and when it did … just … yikes. Hex simply had no identity, and nothing really made sense -- from the weird accents to the erratic editing to the unintentionally hilaaaaarious dialogue. And that says nothing of director Jimmy Hayward, whose uncertainty and nerves you can almost feel. At least it’ll be appreciated by the Razzies.
Co-writers/-directors/-schmucks Jason Friedberg and Aaron Seltzer make Uwe Boll look like Orson Welles. That’s right -- after a criminal amount of attempts, they can safely be considered the worst filmmakers around, less talented than the runner-up by a margin of roughly infinity. The film that cemented the duo’s position, Vampires Suck, was their most abysmal yet, and that’s downright impressive. It poked, er, tried to poke fun at the phenomenon mentioned in the title (namely Twilight-mania) and, you know, any other pop-culture target with a gigantic bull’s-eye on its back. The result was typical of Friedberg and Seltzer’s “work”: lower-than-lowbrow, astoundingly unfunny and insulting to the spoofs of yore and any human being with the slightest sense of humor. If cockroaches had a sense of humor, it’d be insulting to them, too. But my hyperbole digresses … Bottom line: Vampires Suck was as lazy as filmmaking can get. Until the directors’ next movie, that is.
Chief Perpetrators of Crap, 2010
M. Night Shyamalan: The Last Airbender AND Devil (which he co-wrote and produced)?? Jeez, Night -- you didn’t have to give your career its deathblow in the span of a few months; coulda parlayed The Sixth Sense into a few more movies/millions. But thanks for the mercy.
Josh Duhamel: Holy mother: Life as We Know It, Ramona and Beezus, When in Rome and The Romantics -- all in 2010! And a cheating-on-Fergie scandal!
Jennifer Aniston: We already picked on her for starring in The Bounty Hunter, but we cannot, in good conscience, neglect to mention The Switch. If we pretend it never happened, bad-movie terrorism wins.
Forest Whitaker: Hate to bash a revered Oscar winner, but he had his hand in a whopping eight various projects this year, and those projects included Repo Men, Our Family Wedding and some that never even saw the light of day.
Nicholas Sparks: He brought us the vomit-inducing Dear John, The Last Song and The Ego of Nicholas Sparks: A Comedy (working title).
The Following Directors (and Their Crimes)
Kevin Greutert (Saw 3D), Michael Patrick King (Sex and the City 2), Robert Luketic (Killers), Colin and Greg Strause (Skyline), Christian Alvart (Case 39), Alan Poul (The Back-Up Plan), Burr Steers (Charlie St. Cloud), Roger Kumble (Furry Vengeance) and Brad Peyton (Cats & Dogs: The Revenge of Kitty Galore).