Getty/Andy SheppardHaving recently topped the U.K. charts and entered the U.S. Top 10 with their debut album Days Are Gone, Los Angeles siblings Haim certainly appear to have justified the hype that was showered upon their sun-soaked soft-rock sound at the beginning of the year. But in case you've been living under a rock over the past twelve months, here's a quick everything you need to know guide to Este, Danielle and Alaina.They've Always Kept It in the FamilyProof that the trio have always kept it in the family, the girls began their music career in a band named Rockinhaim with their father Mordechai on drums and their mother Donna on guitar.They Were Once Valli GirlsDanielle & Este also cut their teeth as part of The Valli Girls, an all girl-group inspired by the likes of Blondie and The Pretenders who appeared on the soundtracks to both The Sisterhood Of The Travelling Pants and the 2005 Nickelodeon Kids Choice Awards.Julian Casablancas was Their Unofficial MentorAfter inviting Danielle to perform percussion and guitar on his solo tour, The Strokes frontman Julian Casablancas then became the band's unofficial mentor, advising them to take a break from playing live and instead concentrate on their songwriting.Este is a Musical ProdigyRenowned for her incredible bass-face performances, Este is also something of a musical prodigy having completed her five-year degree in Ethnomusicology at UCLA in just two years.They Won the BBC's Sound of 2013Pipping the likes of AlunaGeorge, Angel Haze and Laura Mvula to the post, Haim were crowned the winners of the BBC's prestigious industry poll earlier this year to join such illustrious company as Adele, Florence + The Machine and Ellie Goulding.They Like CollaboratingAs well as hooking up with Jessie Ware on their own record, various members have also popped up on tracks this year by Major Lazer ("You're No Good"), Kid Cudi ("Red Eye") and Portugal. The Man ("Purple Yellow Red & Blue")Este Almost Died at GlastonburyDiabetic Este claimed that she feared she was going to die in front of a live audience after she was forced to abandon their first set at this year's Glastonbury when her blood sugar levels ran dangerously low.David Cameron is a FanDavid Cameron tweeted how he was looking forward to listening to their album after the trio dedicated a performance of "The Wire" to the Prime Minister when they both appeared on the BBC's The Andrew Marr Show.
As you might have guessed, the BAFTA ceremony was this weekend and a bunch of British films won. Of course this was bound to happen. I'd give it to my home team, too. The results don't necessarily determine the outcome of the Oscar's in two weeks, but it does confirm that there are a lot of great films competing this year. The King's Speech was easily the big winner, taking home Best Film, Actor, both Supporting Actor awards, British Film, Original Screenplay and Music. Inception and Alice in Wonderland, as the only other slightly British films in Hollywood, took most of the technical awards for Production Design, Hair & Make Up, Visual Effects, etc. And when the Brits didn't have a clear domestic winner, I like to imagine they begrudgingly handed them over to David Fincher, Natalie Portman, Toy Story 3 and the lot.
Best Film- The King’s Speech
Director - The Social Network - David Fincher
Leading Actor - Colin Firth - The King’s Speech
Leading Actress - Natalie Portman - Black Swan
Supporting Actor - Geoffrey Rush - The King’s Speech
Supporting Actress - Helena Bonham Carter - The King’s Speech
Adapted Screenplay- The Social Network - Aaron Sorkin
Original Screenplay - The King’s Speech - David Seidler
Animated Film - Toy Story 3 - Lee Unkrich
Outstanding British Film - The King’s Speech
Film Not In The English Language - The Girl With The Dragon Tattoo
Outstanding Debut By A British Writer, Director Or Producer - Four Lions - Chris Morris (Director/Writer)
Cinematography - True Grit - Roger Deakins
Editing - The Social Network - Angus Wall, Kirk Baxter
Production Design - Inception - Guy Hendrix Dyas, Larry Dias, Doug Mowat
Sound - Inception - Richard King, Lora Hirschberg, Gary A Rizzo, Ed Novick
Special Visual Effects - Inception - Chris Corbould, Paul Franklin, Andrew Lockley, Peter Bebb
Make Up & Hair - Alice In Wonderland - Valli O'Reilly, Paul Gooch
Original Music - The King’s Speech - Alexandre Desplat
Costume Design - Alice In Wonderland - Colleen Atwood
Short Film - Until The River Runs Red - Paul Wright, Poss Kondeatis
Short Animation - The Eagleman Stag - Michael Please
The Orange Wednesdays Rising Star Award (voted by the public) - Tom Hardy
Nearly a century and a half after Alice’s Adventures in Wonderland first acquainted readers with the Mad Hatter the Cheshire Cat and the rest of the peculiar inhabitants of author Lewis Carroll’s fertile imagination filmmaking technology has finally developed the tools capable of properly rendering Carroll's exquisitely twisted world on the big screen. And who better to oversee the translation than Tim Burton Hollywood’s foremost mass-market purveyor of dark quirky fantasy? If there’s any director working today who can lay claim to Carroll’s creative inheritance surely it is him.
His creation Alice in Wonderland is fashioned not as an adaptation of Carroll’s two Alice-centered books but rather a kind of sequel to them its titular heroine (Mia Wasikowska) redrawn as the mischievous 19-year-old daughter of English aristocrats. Given more to chasing small animals than attending society functions Alice is the kind of adventurous free-thinking Victorian renegade who thinks nothing of drinking suspicious beverages found at the bottom of rabbit holes.
If only she were more interesting. Burton’s Alice isn’t so much a character as she is a tour guide leading us through the director’s $150 million museum of digital delights. Virtually everything on display in the film from the giant mushrooms of the Underland forest to the bulging eyes of Johnny Depp’s (literally) mercurial Hatter was either created or enhanced inside a computer presumably one with a direct connection to Burton’s cerebral cortex. (Interestingly the enhanced Depp bears a more than passing resemblance to Elijah Wood who the producers could have gotten for a lot less money.) Much like Alice herself it’s gorgeous to look at but never particularly engaging.
Were he alive today — and reasonably coherent — Carroll himself would no doubt marvel at the visual grandeur of Alice in Wonderland its CGI world as detailed and immersive as the most vivid of his migraine-induced hallucinations. But he might frown at the short thrift given to his characters. Esteemed cast members like Anne Hathaway (The White Queen) Crispin Glover (The Knave of Hearts) and even the mighty Depp can’t hope to compete with the beauty of their surroundings — instead of actors chewing the scenery the scenery devours the actors. (A notable exception is Helena Bonham Carter the cast’s lone standout as the screeching acerbic Red Queen.)
Alice in Wonderland is really designed to function as an inoffensive family flick and in that regard it boasts more than enough pretty fluff to keep the minds of most pre-teens occupied for the duration of a Saturday matinee. But afterward they might be hard-pressed to recount details of the story which involves Alice having to find a magic sword so she can slay a giant dragon and unlock the Legend of Zelda. Or something like that.
Filled with moments of fleeting exhilaration and empty whimsy Alice in Wonderland never really grabs the viewer in any meaningful way its overall experience more akin to that of a theme park ride than a movie. Which I half suspect was Disney’s intention all along.
On the one hand it’s a comedy. We meet Sarah Huttinger (Jennifer Aniston) a thirtysomething knee deep in a pre-midlife crisis with a way too patient fiancé (Mark Ruffalo) and a nowhere job. Her anxiety is only exacerbated when she visits her picture perfect family in Pasadena CA a place she’s never felt like she belonged especially after her mother died. But then it gets weirder when Sarah finds out her family was the inspiration for The Graduate. It seems Sarah’s grandmother (Shirley MacLaine) was the Mrs. Robinson and that her mother ran off with the same guy briefly right before she got married to Sarah’s dad. Sarah becomes obsessed with finding this “other” guy Beau Burroughs (Kevin Costner) believing he might be the key. He’s a key all right--to a night of drunken lust. But none of this is going to solve Sarah’s problems now is it? She’s got to find her own answers in her heart. Excuse me while I go throw up. Maybe Jennifer Aniston should just write this year off. Not only did she lose a husband to another woman she also hasn’t made very smart choices in her career. Derailed completely missed the track and now this comedy is no better suited to her talents. Aniston is much better playing sweet and quirky rather than messy and neurotic and honestly shines brighter when co-starring with strong comedic talents such as Ben Stiller (Along Came Polly) or Jim Carrey (Bruce Almighty). (That’s why we’re holding our breath for her next film The Break Up with [real-life boyfriend?] Vince Vaughn.) Shirley MacLaine making a habit out of being the best thing in an otherwise dull movie (In Her Shoes anyone?) is a hoot as grandma. Costner doesn’t look anything like Dustin Hoffman thank goodness but has zero chemistry with Aniston. And who knows what the hell Ruffalo is doing wasting his talents doing this romantic comedy crap. Just say no Mark. As a director Rob Reiner hasn’t had much luck lately either. This is the first movie he’s directed since 2003’s Alex & Emma--and we all remember what a success that was. To be fair Reiner apparently took over the reins from screenwriter Ted Griffin (Matchstick Men) who was making his feature film debut ten days into production and changed things quite a bit. That’s not surprising because Rumor quite simply lacks direction. It wants desperately to be a comedy with a hint of relationship drama but somehow misses the mark on both. Now the idea of a Graduate update is somewhat intriguing. Reminds me of Robert Altman’s The Player in which The Graduate’s original screenwriter Buck Henry pitches a sequel of sorts to a studio development exec. It’s meant to be a joke of course but somewhere in the spoof there might’ve been a sliver of mad brilliance. Too bad Rumor ruins it.