The stars of American Hustle, Dallas Buyers Club, Modern Family and Breaking Bad were the big winners at the 20th annual Screen Actors Guild Awards in Los Angeles on Saturday night (18Jan14). The American Hustle ensemble was named Outstanding Cast in a Motion Picture, while Dallas Buyers Club co-stars Matthew McConaughey and Jared Leto added to their Golden Globe and Critics Choice Awards wins by scooping the Outstanding Performance by a Male Actor in a Leading Role and Outstanding Performance by a Male Actor in a Supporting Role honours, and Lupita Nyong'o (12 Years a Slave) and Cate Blanchett (Blue Jasmine) claimed the actress awards.
All four stars picked up Oscar nominations on Thursday (16Jan14) and are considered favourites for the Academy Awards in March (14).
Breaking Bad and Modern Family dominated the top TV awards at the SAGs - the casts picked up the Best Ensemble honours for TV drama and comedy, respectively, and stars Bryan Cranston and Ty Burrell were named Best Actors for their roles as drug kingpin Walter White and hapless TV dad Phil Dunphy.
Dame Maggie Smith won the Best Actress honour for her role as Violet, Dowager Countess of Grantham in Downton Abbey, and another Dame, Helen Mirren, picked up her fifth SAG Award as she was named Outstanding Actress in a Movie or Miniseries for her portrayal of music mogul Phil Spector's legal sidekick Linda Kenney Baden in Phil Spector. Michael Douglas claimed the male equivalent for another real-life portrayal in a biopic - his turn as Liberace in Behind the Candelabra won him the trophy.
He acknowledged his father Kirk Douglas in his acceptance speech, stating, "I've got a 97-year-old member of SAG back at home who I know is particularly proud of me getting this award. I want to thank all of you here tonight for helping me get out of his shadow for a little bit."
The full list of winners is:
Outstanding Performance by a Male Actor in a Leading Role - Matthew McConaughey (Dallas Buyers Club)
Outstanding Performance by a Female Actor in a Leading Role - Cate Blanchett (Blue Jasmine)
Outstanding Performance by a Male Actor in a Supporting Role - Jared Leto (Dallas Buyers Club)
Outstanding Performance by a Female Actor in a Supporting Role - Lupita Nyong'o (12 Years a Slave)
Outstanding Performance by a Cast in a Motion Picture - American Hustle
Outstanding Performance by a Male Actor in a Television Movie or Miniseries - Michael Douglas (Behind the Candelabra)
Outstanding Performance by a Female Actor in a Television Movie or Miniseries - Helen Mirren (Phil Spector)
Outstanding Performance by a Male Actor in a Drama Series - Bryan Cranston (Breaking Bad)
Outstanding Performance by a Female Actor in a Drama Series - Maggie Smith (Downton Abbey)
Outstanding Performance by a Male Actor in a Comedy Series - Ty Burrell (Modern Family)
Outstanding Performance by a Female Actor in a Comedy Series - Julia Louis-Dreyfus (Veep)
Outstanding Performance by an Ensemble in a Drama Series - Breaking Bad
Outstanding Performance by an Ensemble in a Comedy Series - Modern Family
Outstanding Action Performance by a Stunt Ensemble in a Motion Picture - Lone Survivor
Outstanding Action Performance by a Stunt Ensemble in a Comedy or Drama Series - Game of Thrones
Life Achievement Award - Rita Moreno
Since his days directing sketches for comedy troupe The State and his seminal debut feature Wet Hot American Summer David Wain has been expertly calculating ways to make his brand of absurdist humor work within the rigid conventional world of Hollywood movies. His latest Wanderlust is the perfect example of a hollow rom-com template that Wain fills to the brim with bizarre jokes and perfectly timed physical humor. His soldier of fortune is Paul Rudd who brings the golden ratio: looks of a leading man and a comedic gravitas that is unmatched. Rudd's at the top of his game whether he's landing a one-liner stretching his face to Jim Carrey-like proportions or reacting to his maniac co-stars the actor delivers—making Wanderlust charming deranged and very funny.
George (Rudd) and Linda (Jennifer Aniston better suited for this wacky comedy than you'd think) are a happily married couple living in New York attempting to live the dream lifestyle without any of the reality to fall back on. It doesn't work—George loses his job Linda fails to sell her documentary on penguin testicular cancer and the two find themselves forced to sell their "micro-loft" in the West Village and move in with George's brother in Atlanta. During their epic car ride George and Linda make a pit stop at a local Georgian B&B only to discover it's a counterculture commune home to an eclectic group determined to live on their own alternative terms. The inhabitants of "Elysium" range from nudists to tai chi experts to organic farmers but they all have one goal: live free. Realizing they don't have too much else going on in their lives (their alternative is shacking up with George's materialistic misogynistic businessman brother Rick played by the amazing Ken Marino) George and Linda dive head first into the off-beat world of Elysium.
Wanderlust dishes out its fair share of oddities when exploring the world of Elysium but isn't content in simply exploiting those quirks. Wain who co-wrote the script with Marino fleshes out the ensemble and makes keen choices so that no character is just a face in a crowd. Comedy pros like Justin Theroux Alan Alda Malin Akerman Joe Lo Truglio Kathryn Hahn Kerri Kenney Lauren Ambrose and more round out the cast and help color the world of Elysium piling laughs on top of laughs with every scene. Theroux stands out as Seth a spiritual leader for the group who begins to woo Linda away from George with his savvy guitar skills and potent herbal teas. Seth's slow and steady demeanor is a welcome change from the usual rapid-fire style seen in the modern comedy (the movie was produced by Judd Apatow so it wouldn't have been a surprise to see the approach replicated in Wanderlust) making us laugh in a zen fashion.
Meanwhile George just can't get anything right from group "truth circle" exercises to drinking coffee made of dirt to Elysium's "free love pact " which gives both he and his wife the chance to sexually explore outside of their relationship. The couple quickly realizes the freedom of their new home divides them and Wain's sensitivity to story and character evolve the relationship in a rather conventional yet desirable fashion.
Wanderlust falls somewhere between a Katherine Heigl romantic comedy vehicle and the pleasantly obscene work of Wain's past—and it may catch some off guard. The movie doesn't mind throwing in a bit of male nudity playing with abrasive repetition or those who find laughs in patience. The movie fully embraces the weird while never lettings its characters slip fully into caricature. Much like George and Linda's own dilemma Wanderlust wants to find harmony between the mainstream and the not-so-much. Thankfully it achieves inner peace.
Director Alexander Payne's (Election Sideways) new film opens over sprawling landscape shots of Hawaii's scenic suburbia accompanied by George Clooney's character Matt King summing up his current predicament: "Paradise can go fuck itself." The reaction unfortunately is reasonable.
We pick up with King an ancestor of Hawaiian royalty in the middle of deliberations over a plot of land handed down through his family over generations. With every uncle aunt and cosign whispering opinions into his ear King is suddenly presented with an even greater problem: taking care of his two daughters. A boating accident leaves his wife in a coma forcing Matt to take a true parenting role with his young socially-troubled daughter Scottie (Amara Miller) and his rebellious teen Alexandra (Shailene Woodley) who was previously shipped off to boarding school. Matt awkwardly hunts for the emotional glue necessary for the mismatched bunch to become "a family " but matters are made even more complicated when Alex reveals that her mother was cheating on him before the accident. Murphy's Law is in full effect.
With The Descendants Payne continues to explore and discover the inherent humor in life's melancholic situations unfolding Matt's quest for understanding like a road movie across Hawaii's many islands. Simultaneously preparing for the end of his wife's death and searching for the identity of her lover Matt crosses paths with a number of perfectly cast side characters who act as mirrors to his best and worst qualities: his father-in-law Scott (Robert Foster) who belittles Matt for never taking care of his daughter; Hugh (Beau Bridges) an opportunistic cousin who pressures Matt to sell the land; Alexandra's dunce of a boyfriend Sid (Nick Krause) who always has the wrong thing to say; and Julie (Judy Greer) the wife of the adulterer in question. Colorful yet real Matt experiences a definitive moment with each of them yet the picture never feels sporadic or episodic.
Clooney and Woodley help gel these sequences together as they observe experience and butt heads as equals. Clooney's own magnetism stands in the way of making Matt a fully dimensional character but he shines when playing off his quick-witted daughter. His reactions are heartbreaking—but it's the moments when he has to put himself out there that never quite ring true. But the script by Nat Faxon Jim Rash and Payne gives Clooney plenty of opportunities to work his magic visualizing his struggle as opposed to vomiting it out like so many of today's talky dramas.
The Descendants is a tender cinematic experience an introspective and heartwarming film unafraid to convey its story with pleasing simplicity. Clooney stands out with a solid performance but like many of Payne's films it's the eclectic ensemble and muted backdrop that give the movie its real texture. The paradise of Descendants isn't all its cracked up to be but for movie-goers it's bliss.
127 Hours the new film from Slumdog Millionaire’s Academy Award-winning writer-director duo Simon Beaufoy and Danny Boyle feels like it was made in the titular time frame. The movie is choppy and fast-paced like the adventures of its daredevil protagonist Aron Ralston who amputated his own arm after an accident in the cavernous regions of Moab Utah in 2003. This kinetic style of filmmaking (similar to how Slumdog was produced) succeeds in artistically recreating the horrific events of those five painful days but prevents the audience from developing an essential emotional connection with the character and renders the movie limp with more style than substance.
The story begins with Mr. Ralston’s (played adequately by James Franco) ritualistic preparation for intense outdoors activities. He ignores his mother’s phone call (and it’s clearly not the first time he’s done this) so he can begin his extreme expedition that much faster. This selfish attribute is true to the character and foreshadows his eventual arc but Boyle stumbles around with irrelevant narrative detours involving a pair of female thrill-seekers and a barely-seen sister and ex-girlfriend. These subplots are ultimately counter-productive and feel out-of-place.
Instead of providing the character’s backstory through a traditional prologue we learn about Ralston’s past through his own sleep/food/water-deprived hallucinations while he’s stuck beneath a boulder at the bottom of a canyon. In this grim ill-fated state the audience is supposed to feel remorseful and on a basic level of human compassion we do. However it’s difficult to sympathize with a character as arrogant and narcissistic as Ralston who admits that he’s brought this situation on himself.
In terms of craft Boyle is at the top of his game. Aron’s spiritual breakthrough is dramatized by surreal visual sequences that deliver the most moving imagery in the entire film. His use of sound effects particularly enhanced the harrowing experience as do the realistic prosthetics used to depict his bloody sacrifice.
Though the film has the tension and suspense that made similarly-themed survival tales like Castaway and Rescue Dawn moving it lacks an introduction that builds a bond between audience and character debilitating the effect of Aron’s eventual triumph. Many will rejoice when they see Ralston emerge from his mountainous prison a wiser and more appreciative man but there’s never much reason to root for him throughout the picture unless you’re simply hoping for a happy ending.
Twilight’s contentious “Edward vs. Jacob” debate was finally settled at the close of 2009‘s New Moon the second episode of Stephenie Meyers’ supernatural teen harlequin saga when plaintive emo hottie Bella Swan (Kristen Stewart) definitively rejected the advances of Taylor Lautner’s musclebound man-wolf in favor of Robert Pattinson’s brooding vampire.
Or so we thought. Twilight’s fateful love triangle is revived in earnest by Eclipse part three of the series and this time the implications are serious -- relatively speaking of course. Taking over the helm from New Moon director Chris Weitz is David Slade (30 Days of Night Hard Candy) who adds a hefty dose of action to Twilight’s trademark mix of soaring romance and manic melodrama making Eclipse the first film in the saga in which -- get this -- something actually happens.
Indeed action is a primary theme of Eclipse. Like most high school seniors Bella wants some; her pasty paramour Edward Cullen however remains stubbornly chaste and not just because the briefest exposure to his unbridled vampire lust would almost certainly kill his all-too-human sweetheart. You see chivalrous Edward hails “from a different era ” one in which the institution of marriage meant everything and a man took care to mount a proper courtship before marrying a girl nearly a century his junior. (He’s 109 years old.) He asks her to marry him; she agrees but only if he’ll turn her into a vampire first; he hesitates pondering the unalterable consequences; the matter is tabled and heavy petting resumes. (This exchange is repeated ad nauseam throughout the remainder of the film.)
The constant fawning and unwavering devotion from impossibly beautiful Edward aren’t enough to sate Bella’s thirst -- she needs validation like a vampire needs blood -- and so she uses the flimsiest of pretexts to re-insert herself into the life of Jacob Black the sensitive werewolf she previously shunned who dutifully plies her with his own declarations of undying love. (Jacob to his credit has developed enough game since we last saw him to qualify as a serious contender for Bella’s affections and is no longer the devoted doormat we saw in New Moon. He’s still a tool though.) Game on.
But Edward and Jacob aren’t the only ones with designs on Bella. (Seriously are there no other hot emo chicks in the greater Pacific Northwest?) A ginger-haired menace (Bryce Dallas Howard) has emerged one that will require Edward’s vampire clan and Jacob’s wolfpack tribe longtime enemies forever on the verge of a climactic battle (in which Bella will serve as the jeans-and-hoodie-clad Helen of Troy no doubt) to put aside their differences and unite against a common enemy. In order to ensure Bella’s safety Edward and Jacob must form an uneasy tag-team (no not that kind of tag team much as it would likely better serve to resolve matters) to keep Bella safe from harm.
With its amped-up action sharpened wit and darker horror flick-inspired atmospherics Eclipse boasts the broadest appeal of all the Twilight films thus far. But that doesn’t mean it’s good. Director Slade’s grasp of plot development borders on amateurish in this film; Eclipse often feels less like a movie than a weighty discourse on the pros and cons of vampiredom laid out in lengthy exhaustingly repetitive chunks of exposition and awkward campy flashbacks as just about every character in the film including Edward attempts to dissuade Bella from joining the ranks of the bloodsuckers.
But alas no force no matter how utterly rational its arguments will keep Bella from her destiny. Which obviously is Edward. Or is it? Eclipse goes to great pains to invent ways to perpetuate the film’s romantic rivalry inserting scenes like the one in which Bella on the verge of freezing to death in a tent high up in the mountains is saved when Jacob arrives to heroically spoon her body temperature back to its proper level. (Eclipse is being hyped as the first “guy-friendly” Twilight flick but no film which includes a climactic spooning scene can rightly claim such a distinction.) Edward meanwhile with his poor vampire circulation is powerless to help.
Who will win in the end? Will it be abs over eyes? Obviously it will take two more movies (at least!) to solve this kind of wrenching dilemma.
Meet Wheeler (Scott ) and Danny (Rudd) -- two salesmen who get to hawk a blue sugary caffeine-filled energy drink called Minotaur. Wheeler is a swingin’ KISS-lovin’ single guy who loves his job playing THE Minotaur while depressed Danny has settled into a nice mid-life crisis loathing just about anything and everyone. These two are just destined to become role models. And so after some very bad circumstances Wheeler and Danny do just that forced into 150 community service hours at a mentorship program. It’s either play big brother to a couple of kids or go to jail. Danny gets assigned to Augie (Christopher Mintz-Plasse) a 16-year-old obsessed with Dungeons and Dragons medieval role play while Wheeler gets a 10-year-old foul-mouthed troublemaker named Ronnie (Bobb'e J Thompson). After one day jail isn’t looking half-bad. For a premise that sounds a bit shaky the cast of Role Models simply sell it. Thanks to the likes of Anchorman and 40 Year-Old Virgin Paul Rudd has found his niche as the go-to guy for deadpan humor. Seann William Scott too seems more mature this time finally shedding that American Pie smug arrogance he’s had to live with for so many years. Virgin’s Jane Lynch is hysterical as the head of the mentorship program Sturdy Wings an ex-addict who takes no crap. Elizabeth Banks (she’s in everything lately) also does a nice job as Danny’s girlfriend who has had it with his behavior. And the kids add to the flavor: Mintz-Plasse aka McLovin’ from Superbad gets to try something different as the geeky Lord of the Rings wannabe while newcomer Thompson plays the smartass kid who curses with a certain panache. Can you believe producer/writer/director Judd Apatow had nothing to do with Role Models? It seems to have many of his signature touches including a pretty hard R rating for a movie with kids in it. But actually Role Models comes from the minds of ex-The State members David Wain and Ken Marino along with Paul Rudd and a few other writers. And for once a long list of writers doesn’t spell trouble for the film; it seems to have only enhanced the comedy. The best part of Role Models has to be the medieval role-playing festival where all known D&D and LOTR enthusiasts come out in droves dressed in full gear ready to wage battle and clash rubber swords for their made-up countries’ supreme dominance. It really happens folks and to have front-row seats to this world is quite a comedic treat.