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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As far as I'm concerned Logan Lerman has got the "Charlie" down pat. He looks pensive, uptight, self-loathing, innocent...the works. But what about the rest of the cast? The new image from the The Perks of Being a Wallflower movie gives us a little heads up for what we're to expect.
Emma Watson isn't the sort I'd ever expect to have embodied Charlie's guardian angel Sam, but I can't say that with any real disappointment—primarily because crowds of Emma Watson fans would accumulate with torches and pitchforks. In all honesty, I'm excited to see what she does with the role.
As an avid Arrested Development/Scott Pilgrim vs. the World/that one episode of Law & Order: SVU fan, I'm also on the Mae Whitman train. I think she can handle the offbeat, rebellious but insecure Mary Elizabeth quite well, and she looks right at home in the role.
We come to Ezra Miller as Patrick, Sam's gay step-brother. The only real disparity between Miller's Patrick and the one I imagined when first reading the novel is hair length. Otherwise, good to go.
The remaining pair look to be Johnny Simmons (playing Brad) and Julia Garner (playing Susan). All in all, the cast looks as on point as we might realistically hope for this iconic piece of our generation's literature. I can't wait to see more material from the film.
The Perks of Being a Wallflower, written and directed by the book's author Stephen Chbosky, also stars Paul Rudd, Dylan McDermott, Kate Walsh, Nina Dobrev and Zane Holtz.
Source: Paradisio Films via Oh No They DIDN'T!
At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.