There are certain kisses, oftentimes finding home at the end of a movie, that make you feel all warm and gooey inside… until a couple of hours later, when you're looking back at what you saw, and a little voice in your head says, "Wait a minute…"
We're taking a look at the most memorable kisses in film from the '80s on, including the Best Kisses and the Worst Kisses. These, however, are the kisses that make us ask the question: romantic or creepy?
Demi Moore and Patrick Swayze, Ghost
Poor Molly. She's lost her soul mate Sam and has a medium (Whoopi Goldberg) bringing her messages from him from beyond the grave. She's even gotten to share a kiss with Sam as he inhabits Whoopi's body. Then, his spirit finally at ease after righting the wrong that led to his death, a ghostly Sam appears and tenderly kisses her before going towards the light. Did you cry? Ditto.
Only… He's a freakin' ghost! There is a ghost right there, right in the room with you… transparent and bathed in some weird glowing light! Give Molly credit, because no matter whom it's the spirit of, when a ghost shows up most people run the other way.
Keira Knightley and Andrew Lincoln, Love Actually
Lincoln's Mark arrives at the home of his best friend (Chiwetel Ejiofor) and his new bride, Knightley, who answers the door. Mark has her pretend that he's actually a Christmas caroler, quietly holding up cue cards to profess his love for her. Having gotten it out in the open, Mark takes his cards and walks away, down an empty London street. His unrequited love chases him down and gives him a sweet kiss before returning to her happy home, showing him that love is never wasted.
Only… For starters, she's married. To his best friend! Even if your best friend's wife is the insanely beautiful Knightley, you don't profess your love to her. And, if you're her, you don't go around kissing your husband's friends. Even in Britain we're pretty sure that's a rule.
Melanie Lynskey and Christopher Abbott, Hello I Must Be Going
Lynskey's Amy is going through a rough patch. She's getting divorced and is forced to move back in with her parents. Lucky for her, one of her father's business associates has a gorgeous young son, who, at a dinner party, follows her from the room and plants a passionate kiss on her. The love affair that follows awakens her soul and helps her rediscover life.
Only…Okay, so Abbott's Jeremy is legal, but just barely (he's 19). On the one hand, it's true that we've seen male characters on the older end of many a cinematic May-December romance, but we usually like the girl to be out of her teens once the story starts! Otherwise we get a little creeped out. It's no different just because it's Lynskey doing the canoodling.
Patrick Swayze and Jennifer Grey, Dirty Dancing
Swayze makes his second appearance on the list when his Johnny pours out his heart to Grey's Baby as she's trying to learn how to dance to help him and his partner out of a jam. He's misunderstood and she doesn't know what it's like to have married women that expect him to service them. The kiss itself is brief, but it comes as part of a larger dancing mating ritual that's as sexy as all get out.
Only… Wait, how old is Johnny? More importantly, how old is Baby? Even if it's legal, he's kind of taking some liberties with a guest at the resort he's working at… which is a touch skeevy. Plus, no matter how dreamy Swayze is, he kind of admitted to being a little bit of a gigolo.
Sarah Michelle Gellar and Selma Blair, Cruel Intentions
Gellar's privileged and bored Kathryn is lounging in the park with fellow young socialite, Cecile (Blair). The naïve Cecile confides that she's worried about kissing a boy, since she's never even been "to first base." Gellar, charged with helping to guide the younger girl, offers to give her a lesson on the art of the kiss. She shows her the proper way to touch lips before upping the ante and demonstrating how the tongue comes into play. As she pulls away from Cecile's first French kiss, Kathryn states simply, "That's first base." Teen boys everywhere wore out their family's first DVD player skipping back to the scene.
Only…Kathryn is every bit as bad as the French aristocrat from Dangerous Liaisons on which she's based. She's coldly manipulative and is really just using Cecile to get revenge on her ex-boyfriend and repeatedly tries to get her step-brother (Ryan Phillippe) to seduce her. Hot or not, there's got to be a better way for a girl to learn how to kiss.
Harrison Ford and Kelly McGillis, Witness
Ford's hard-boiled detective is forced into hiding in a Pennsylvania Amish community as he tries to protect McGillis' young son (Lukas Haas) who has witnessed a murder. As Ford recovers from a gunshot wound, he gradually falls for McGillis' fair maid… whom he catches taking one of the sexiest sponge baths in any movie. Fully clothed, they share a moment dancing to Sam Cooke. Finally, they share an embrace that cuts across cultural differences.
Only…We're not saying that back in 1985 plenty of women wouldn't have risked being shunned by their entire community to swap spit with Ford, but this woman is casting aside everything she and her family have always believed in for some cop from Philly. Goodbye, old friends...
Jennifer Garner and Mark Ruffalo, 13 Going on 30
13-year-old Jenna (played by Christa Allen) goes into a closet during her birthday party and emerges as a 30-year-old working at a fashion magazine (Garner). She realizes quickly that she's not the person that she thought she would be. Worse yet, she alienated her best friend Matt (Ruffalo) somewhere along the way. Just as he's about to marry someone else, Jenna is back to being 13 and launches herself at young Matt (played by Sean Marquette). The two rush up a set of stairs and emerge at their own wedding as Ruffalo takes a selfie of him kissing Garner, his blushing bride. It's so sweet dentists recommend brushing your teeth after viewing.
Only…Okay, so body-switching, time traveling movies always have some logistical problems. In this case, if 13-year-old Jenna made her feelings known to Matt, when exactly is this wedding taking place? Because it looks an awful lot like the one that 30-year-old Matt was about to have with his now non-existent fiancée. That's an awful lot of dating — or procrastinating — for a couple that's made for each other.
Emile Hirsch and Elisha Cuthbert, The Girl Next Door
Hirsch's Matthew spies his new neighbor getting changed and as luck would have it, it's Cuthbert, at the height of her teen dream-ness after wowing TV audiences as Jack Bauer's daughter on 24. She tells on him to his parents and, of course, they suggest that as punishment he spend more time with the new hottie. He takes her to a party where every jock in the place tries to get his swerve on with her. Fed up, Matthew walks up to her and kisses her. Far from being offended, she returns the embrace.
Only…Let's start with the fact that Matthew doesn't know that Cuthbert's character is a former porn actress until after he's already in love with her. Even if she really has a heart of gold, honesty is still the best policy.
Mark Wahlberg and Mila Kunis, Ted
Wahlberg's John and Kunis' Lori have been dating for four years, only John isn't that much of a grown-up and pals around with one of his childhood toys, a talking stuffed animal named Ted, who has a thing for just about any vice that you can think of. John is given an ultimatum by Lori: me or the bear. As often happens, things work themselves out. John and Lori seal their "new" relationship with a kiss as Ted watches from the sofa.
Only…His roommate is a talking teddy bear, for goodness sake! That doesn't raise enough red flags for you to walk away from the relationship? We get that Marky Mark has a crazy good body, but come on. Don't come crying to us the first time that Ted shows up at a dinner party with a hooker.
Paul Rudd & Alicia Silverstone, Clueless
Silverstone's Cher is so busy trying to fix everyone else's life that she doesn't even see what's in front of her in this modern retelling of Jane Austen's Emma. Rudd's Josh, the son of one of her father's ex-wives, is an earnest college student who still lives with them part-time as he helps out at his step-dad's law office. Cher finally realizes that it's been Josh all along that has been there for her. The two share a tender kiss before officially becoming boyfriend-girlfriend.
Only… He's her step-brother! Sure, the marriage is over, but he certainly seems to think he's part of the family. Even in Beverly Hills, making out with your step sibling is frowned upon. As with some of the other ones on this list, there's also the nagging problem that even though the age difference may not be that great, she's only 16 and he's well into his college years. As if.
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.
Last night, viewers were treated to a particularly emotional Grammy Awards. Naturally, the tributes to the deceased Whitney Houston were some of the most moving moments of the night, and in recent television. But many rising artists had a lot to celebrate; particularly, Adele, who swept the awards with four major wins. Check below for a complete list of winners from the 54th Annual Grammy Awards, and for a recap, hop over to our Seven Things You Need to Know About the 2012 Grammys list.
Album of the Year
21 by Adele
Record of the Year
"Rolling in the Deep" by Adele
Best New Artist
Best Country Album
Own the Night by Lady Antebellum
Song of the Year
“Rolling In The Deep” by Adele Adkins & Paul Epworth, songwriters (Adele)
Best R&B Album
F.A.M.E. by Chris Brown
Best Rock Performance
“Walk” by Foo Fighters
Best Rap Performance
“Otis” by Jay-Z and Kayne West
Best Pop Solo Performance
“Someone Like You” by Adele
Best Pop Duo/Group Performance
“Body and Soul” by Tony Bennett and Amy Winehouse
Best Pop Instrumental Album
The Road from Memphis by Booker T. Jones
Best Pop Vocal Album
21 by Adele
Best Dance Recording
“Scary Monsters and Nice Sprites” by Skrillex
Best Dance/Electronica Album
“Scary Monsters and Nice Sprites” by Skrillex
Best Traditional Pop Vocal Album
Duets II by Tony Bennett & Various Artists
Best Hard Rock/Metal Performance
“White Limo” by Foo Fighters
Best Rock Song
“Walk” by Foo Fighters
Best Rock Album
Wasting Light by Foo Fighters
Best Alternative Music Album
Bon Iver by Bon Iver
Best R&B Performance
“Is This Love” by Corinne Bailey Rae
Best Traditional R&B Performance
“Fool For You” by Cee Lo Green & Melanie Fiona
Best R&B Song
“Fool For You” by Cee Lo Green, Melanie Hallim, Jack Splash
Best Rap/Sung Collaboration
“All Of The Lights” by Kanye West, Rihanna, Kid Cudi & Fergie
Best Rap Song
“All Of the Lights” by Jeff Bhasker, Stacy Ferguson, Malik Jones, Warren Trotter & Kanye West
Best Rap Album
My Beautiful Dark Twisted Fantasy by Kanye West
Best Country Solo Performance
“Mean” by Taylor Swift
Best Country Duo/Group Performance
“Barton Hollow” by The Civil Wars
Best Country Song
“Mean” by Taylor Swift
Best New Age Album
What’s It All About by Pat Metheny
Best Improvised Jazz Solo
“500 Miles High” by Chick Corea
Best Jazz Vocal Album
The Mosaic Project by Terri Lyne Carrington & Various Artists
Best Jazz Instrumental Album
Forever by Corea, Clarke & White
Best Large Jazz Ensemble Album
The Good Feeling by Christian McBride Big Band
Best Gospel/Contemporary Christian Music
“Jesus” by Le’Andria Johnson
Best Gospel Song
“Hello Fear” by Kirk Franklin
Best Contemporary Christian Music Song
“Blessings” by Laura Story
Best Gospel Album
Hello Fear by Kirk Franklin
Best Contemporary Christian Music Album
And If Our God Is For Us… by Chris Tomlin
Best Latin Pop, Rock, Or Urban Album
Drama Y Luz by Maná
Best Regional Mexian Or Tejano Album
Bicentenario by Pepe Aguilar
Best Banda Or Norteno Album
Los Tigres Del Norte And Friends by Los Tigres Del Norte
Best Tropical Latin Album
The Last Mambo by Cachao
Best Americana Album
Ramble At the Ryman by Levon Helm
Best Bluegrass Album
Paper Airplane by Alison Krauss & Union Station
Best Blues Album
Revelator by Tedeschi Trucks Band
Best Folk Album
Barton Hollow by The Civil Wars
Best Regional Roots Music Album
Rebirth of New Orleans by Rebirth Brass Band
Best Raggae Album
Revelation Pt 1: The Root Of Life by Stephen Marley
Best World Music Album
Tassili by Tinariwen
Best Children’s Album
All About Bullies… Big And Small
Best Spoken Word Album
If You Ask Me (And Of Course You Won’t) by Betty White
Best Comedy Album
Hilarious by Louis C.K.
Best Musical Theater Album
The Book of Mormon: Josh Gad & Andrew Rannells; Anne Garefino, Robert Lopez, Stephen Oremus, Trey Parker, Scott Rudin & Matt Stone (producers); Robert Lopez, Trey Parker & Matt Stone (composers/lyricists)
Best Compilation Soundtrack For Visual Media
Boardwalk Empire: Volume 1: Various Artists
Best Score Soundtrack For Visual Media
The King’s Speech by Alexandre Desplat
Best Song Written For Visual Media
“I See The Light (From Tangled)” by Alan Menken & Glenn Slater, songwriters (Mandy Moore & Zachary Levi)
Best Instrumental Composition
"Live In Eleven” by Béla Fleck & Howard Levy, composers (Béla Fleck & The Flecktones)
Best Instrumental Arrangement
“Rhapsody In Blue” by Gordon Goodwin, arranger (Gordon Goodwin’s Big Phat Band)
Best Instrumental Arrangement Accompanying Vocalist(s)
“Who Can I Turn To (When Nobody Needs Me)” by Jorge Calandrelli, arranger (Tony Bennett & Queen Latifah)
Best Recording Package
Scenes From the Suburbs, Caroline Robert, art director (Arcade Fire)
Best Boxed Or Special Limited Edition Package
The Promise: The Darkness On The Edge of Town Story by Dave Bett & Michelle Holme, art directors (Bruce Springsteen)
Best Album Notes
Hear Me Howling!: Blues, Ballads & Beyond As Recorded By the San Francisco Bay By Chris Strachwitz In The 1960s, Adam Machado, album notes writer (Various Artists)
Best Historical Album
Band On the Run (Paul McCartney Archive Collection — Deluxe Edition), Paul McCartney, compilation producer; Sam Okell & Steve Rooke, mastering engineers (Paul McCartney & Wings)
Best Engineered Album, Non-Classical
Paper Airplane, Neal Cappellino & Mike Shipley, engineers; Brad Blackwood, mastering engineer (Alison Krauss & Union Station) Producer Of the Year, Non-Classical Paul Epworth
Best Remixed Recording, Non-Classical
“Cinema (Skrillex Remix)” by Sonny Moore, remixer (Benny Benassi)
Best Surround Sound Album
Layla And Other Assorted Love Songs (Super Deluxe Edition), Elliot Scheiner, surround mix engineer; Bob Ludwig, surround mastering engineer; Bill Levenson & Elliot Scheiner, surround producers (Derek & The Dominos)
Best Engineered Album, Classical
Aldridge: Elmer Gantry, Byeong-Joon Hwang & John Newton, engineers; Jesse Lewis, mastering engineer (William Boggs, Keith Phares, Patricia Risley, Vale Rideout, Frank Kelley, Heather Buck, Florentine Opera Chorus & Milwaukee Symphony Orchestra) Producer Of the Year, Classical Judith Sherman
Best Orchestral Performance
“Brahms: Symphony No. 4” by Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Best Opera Recording
“Adams: Doctor Atomic” by Alan Gilbert, conductor; Meredith Arwady, Sasha Cooke, Richard Paul Fink, Gerald Finley, Thomas Glenn & Eric Owens; Jay David Saks, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)
Best Choral Performance
“Light & Gold” by Eric Whitacre, conductor (Christopher Glynn & Hila Plitmann; The King’s Singers, Laudibus, Pavão Quartet & The Eric Whitacre Singers)
Best Small Ensemble Performance
“Mackey: Lonely Motel — Music From Slide” by Rinde Eckert & Steven Mackey; Eighth Blackbird
Best Classical Instrument Solo
“Schwantner: Concerto For Percussion & Orchestra” by Giancarlo Guerrero, conductor; Christopher Lamb (Nashville Symphony)
Best Classical Vocal Solo
“Diva Divo” by Joyce DiDonato (Kazushi Ono; Orchestre De L’Opéra National De Lyon; Choeur De L’Opéra National De Lyon)
Best Contemporary Classical Composition
“Aldridge, Robert: Elmer Gantry” by Robert Aldridge & Herschel Garfein
Best Short Form Music Video
“Rolling In The Deep” by Adele; Sam Brown, video director; Hannah Chandler, video producer
Best Long Form Music Video
“Foo Fighters: Back And Forth” by Foo Fighters; James Moll, video director; James Moll & Nigel Sinclair, video producers Grammy Trustees Award Dave Bartholomew, Steve Jobs, and Rudy Van Gelder
Salt the propulsive new thriller from Phillip Noyce (Clear and Present Danger Patriot Games) has been dubbed “Bourne with boobs ” but that label isn’t entirely accurate. In the role of Evelyn Salt a CIA staffer hunted by her own agency after a Russian defector fingers her in a plot to murder Russia’s president Angelina Jolie keeps her two most potent weapons holstered hidden under pantsuits and trenchcoats and the various other components of a super-spy wardrobe that proudly emphasizes function over flash.
But flash is one thing Salt never lacks for. Its breathless cat-and-mouse game hits full-throttle almost from the outset when a former KGB officer named Orlov (Daniel Olbrychski) stumbles into a CIA interrogation room and begins spilling details of a vast conspiracy. Back in the ‘70s hardline elements of the Soviet regime launched an ambitious new front in the Cold War flooding the western world with orphans trained to infiltrate the security complexes of their adopted homelands and wait patiently — decades if necessary — for the order to initiate a series of assassinations intended to trigger a devastating nuclear clash between the superpowers from which the treacherous Reds would emerge triumphant.
The Soviet Union may have long ago collapsed (or did it? Hmmm...) but its army of brainwashed killer orphan spies remains in place and if this crazy Orlov fellow is to be believed they stand poised to reignite the Cold War. It’s a preposterous — even idiotic — scheme but no more so than any of our government’s various harebrained proposals to kill Castro back in the ‘60s. As such the CIA treats it with grave seriousness even the part that that pegs Salt who just happens to be a Russian-born orphan herself as a key player in the conspiracy.
Salt bristles at the accusation but suspecting a set-up she opts to flee rather than face interrogation from her bosses Winter (Liev Schreiber) and Peabody (Chiwetel Ejiofor). A former field agent she’s been confined to a desk job since a clandestine operation in North Korea went south leaving her with a nasty shiner and a rather unremarkable German boyfriend (now her unremarkable German husband). She’s clearly kept up her training during while cubicle-bound however and in a blaze of resourceful thinking and devastating Parkour Fu she fends off a dozen or so agents of questionable competence and takes to the streets where she sets about to clear her name and unravel the Commie orphan conspiracy before the authorities can catch up with her. That is if she isn’t a part of the conspiracy.
The premise which aims to resurrect Cold War tensions and graft them onto a modern-day spy thriller is absurdly clever — and cleverly absurd. But Kurt Wimmer’s screenplay isn’t satisfied with the merely clever and absurd — it must be mind-blowing. Salt is one of those thrillers that ladles out its backstory slowly and in tiny portions every once in a while dropping a revelatory bombshell that effectively blows the lid off everything that happened beforehand. No one is who they seem and every action every gesture no matter how seemingly trivial is imbued with some kind of grand significance. The effect of piling on one insane twist after another has the effect of gradually diluting the narrative. When anything is possible nothing really matters.
But spy thrillers by definition trade in the preposterous and the principal function of the summer blockbuster is to entertain. In that regard Salt more than fulfills its charge. Noyce wisely keeps the story moving at pace that allows little time for asking uncomfortable questions or poking holes in the film’s frail plot. And he has an able partner in the infinitely versatile Jolie who having already exhibited formidable action-hero chops in Wanted and the Tomb Raider films proves remarkably adept at the spy game as well.
It’s well-known that Jolie wasn’t the first choice to star in Salt joining the project only after Tom Cruise dropped out citing the story’s growing similarities to the Mission: Impossible films. But she’s more than just a capable replacement; she’s a welcome upgrade over Cruise not least because she’s over a decade younger (and a few inches taller) than her predecessor. Should Brad Bird require a pinch-hitter for Ethan Hunt he knows where to look.