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Meryl Streep, National Board of Review Awards
Back in January, Streep presented the best actress award to Emma Thompson and her introduction would go down as the biggest, most public diss of Walt Disney. But the strong words she spoke about her friend were just as memorable.
Highlight of the Speech:Emma considers carefully what the f**k she is putting out into the culture! Emma thinks, "Is this helpful?" Not, "Will it build my brand?" Not, "Will it give me billions?" Not, "Does this express me? Me! Me! My unique and fabulous self, into all eternity, in every universe, for all time!" That's a phrase from my Disney contract. I'm serious! "Will I get a sequel out of it, or a boat? Or a perfume contract?" (Read the full speech here.)
Lesson Learned: There's something to be said for actors and artists who are legitimately concerned with their craft and the stories behind the work they're doing. In a pop culture, celebrity-obsessed world that celebrates the brand, it's important to celebrate people like Thompson as well.
Lupita Nyong'o, Black Women in Hollywood Luncheon
In February Nyong'o accepted the Best Breakthrough Performance Award at Essence Magazine's Black Women in Hollywood Luncheon. Instead of speaking merely from her own heart, she spoke from the heart of a fan who'd sent her a powerful and heartbreaking letter.
Highlight of the Speech: "Dear Lupita," it reads, "I think you’re really lucky to be this Black but yet this successful in Hollywood overnight. I was just about to buy Dencia’s Whitenicious cream to lighten my skin when you appeared on the world map and saved me." I remember a time when I too felt unbeautiful. I put on the TV and only saw pale skin...my mother again would say to me, "You can’t eat beauty. It doesn’t feed you."... And what my mother meant when she said you can’t eat beauty was that you can’t rely on how you look to sustain you. What does sustain us... what is fundamentally beautiful is compassion for yourself and for those around you. That kind of beauty enflames the heart and enchants the soul. It is what got Patsey in so much trouble with her master, but it is also what has kept her story alive to this day. We remember the beauty of her spirit even after the beauty of her body has faded away. (Read the full speech here.)
Lesson Learned: It's wonderful that we are embracing Lupita Nyong'o's beauty, and that we're expanding the concept of beauty itself. And it's wonderful that a young girl can look at Nyong'o and choose to embrace her own skin color. But it's also important that we teach people that who you are at your core (call it essence, or spirit, or personality) is something more powerful, more memorable, and more lasting than physical appearance.
Amy Schumer, Ms. Foundation for Women Gloria Awards and Gala
In a hilariously NSFW speech the comedian opened up about an awkward sexual encounter that could have been more traumatic, were it not for her sense of humor. She spoke about turning that moment into an empowering instance of change.
Highlight of the Speech: I can be reduced to that lost college freshman so quickly sometimes, I want to quit. Not performing, but being a woman altogether. I want to throw my hands in the air, after reading a mean Twitter comment, and say, "All right! You got it. You figured me out. I'm not pretty. I'm not thin. I do not deserve to use my voice. I'll start wearing a burqa and start waiting tables at a pancake house. All my self-worth is based on what you can see." But then I think, F**k that. I am not laying in that freshman year bed anymore ever again. I am a woman with thoughts and questions and s**t to say. I say if I'm beautiful. I say if I'm strong. You will not determine my story — I will. I will speak and share and f**k and love and I will never apologize to the frightened millions who resent that they never had it in them to do it. I stand here and I am amazing, for you. Not because of you. I am not who I sleep with. I am not my weight. I am not my mother. I am myself. And I am all of you, and I thank you. (Read the full speech here.)
Lesson Learned: First of all, we should all stop being hateful towards people (yes, even celebrity people) on Twitter. And secondly, sometimes you have to get out of that freshman year bed, dust yourself off, stop apologizing, and go be your incredible self.
Gabourey Sidibe, Ms. Foundation for Women Gloria Awards and Gala
In another fantastic speech about confidence, Sidibe did what few of us expected her to do and actually admitted to being "an a**hole" in school. But in admitting to her flaws she also exposed the flaws of an entire industry that repeatedly asks her (and not someone like Rihanna) "How are you so confident?"
Highlight of the Speech: I was a snob. I thought I was better than the kids in my class, and I let them know it. That's why they didn't like me. I think the reason I thought so highly of myself all the time was because no one else ever did... Sometimes when I'm being interviewed by a fashion reporter, I can see it in her eyes, "How is she getting away with this? Why is she so confident? How does she deal with that body? Oh my God, I'm going to catch fat!" What I would say, is my mom moved my brother and I to my aunt's house. Her name is Dorothy Pitman Hughes, she is a feminist, an activist, and a lifelong friend of Gloria Steinem. Every day, I had to get up and go to school where everyone made fun of me, and I had to go home to where everyone made fun of me... In the morning on the way out to the world, I passed by a portrait of my aunt and Gloria together. Side by side they stood, one with long beautiful hair and one with the most beautiful, round, Afro hair I had ever seen, both with their fists held high in the air. Powerful. Confident. And every day as I would leave the house... I would give that photo a fist right back. And I'd march off into battle. [She starts crying] I didn't know that I was being inspired then. (Read the full speech here.)
Lesson Learned: It's not always the direct influence of a person, but sometimes it's something simpler — a photo, an image, an idea you hear about — that changes your life and changes your way of looking at things.
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The genesis of Universal's 47 Ronin is almost as tragic as the actual history that the movie is culling from. As the story goes, Universal saw the sprigs of talent sprouting from fresh faced director Carl Rinsch, whose previous experience was limited to just a couple of commercials and a nifty short film. The studio decided to ease the new director into feature filmmaking by cutting him what amounts to virtually a blank check, and giving him charge over a multi-national samurai fantasy epic. Almost impossibly, the film isn't a complete disaster. It's just a minor one.
47 Ronin follows the classic story of the titular team of warriors, a group of disgraced samurai who band together to seek revenge against a merciless warlord that betrayed and killed their master. But this isn't your grandfather's version of the story. 47 Ronin is an international affair, and it's covered with a veneer of Japanese mysticism and a thick coating of Hollywood lacquer, but east meets west rather uncomfortably, and it's mostly due to Keanu Reeves. Reeves' character is clearly crowbarred into the story that has no room for him, and it's plainly obvious where the seams of the story were stretched in order to patch him into the narrative. Reeves plays Kai, a half Japanese, half English orphan who is adopted by the samurai clan. His character serves no real purpose beyond being white, slicing things until they die, and playing the male lead of the most superfluous love story of the year. Rinsch simply can't make the inclusion of the character feel organic in any way, and "Kai" ends up feeling like a calculated studio move. It's a shame that the film spends so much time on Reeves when the real star is clearly Hiroyuki Sanada, who plays off the stoic samurai most believably among the rest of the cast.
It's also shame that with all the mysticism pumped into the story, there's no magic in the actual center of the film, the ronin themselves. The only personality trait a samurai is allowed to possess seems to be unerring stoicism, and between all 47 ronin, there are probably only three distinct samurai with any discernible character traits beyond an intense need to brood, and you'll probably only remember those three by the time the credits roll, only to promptly forget about them only a few hours later. Thankfully, Rinko Kikuchi's slinky and treacherous witch adds some much needed camp and personality to the mostly forgettable human characters.
And that's the issue with 47 Ronin. It's largely forgettable. When your film takes on a historical legend like the tale of the 47 ronin, a story that has been told and told again ad nauseum over the years, you really need to justify your own version. There are reels and reels of film dedicated to this story, and 47 Ronin doesn't manage to add anything significant to the canon. It promises to weld myth and history together, but does so clumsily, and while some of the action scenes are exciting, especially a particularly inspired set piece that involves the ronin noiselessly breaking into a heavily guarded fortress, the film is a bore when it's not clanking swords together.
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47 Ronin is a film with many stories. As much as it is a tale about the revenge of four dozen masterless samurai, it's also the tale of an inexperienced filmmaker swallowed up by the enormity of blockbuster filmmaking. Most of all though, It's proof that you shouldn't cram Keanu Reeves into a movie that doesn't really need Keanu Reeves. What you're left with is a dull and bloated samurai epic that has its moments, but feels largely unnecessary.
Not all Young Adult Fiction adaptations are created equal.
Riding the Twilight wave has its advantages and disadvantages, the keystone of the Young Adult fiction genre working as a hook for enthusiastic readers, and a warning sign for those who caught the early exploits of Bella and Edward. Beautiful Creatures owes its cinematic existence to the uber-successful series, but the connective tissue ends there. Based on the novel by Kami Garcia and Margaret Stohl, the movie is ripe with energy, drawing from its preserved, Southern gothic setting of South Carolina, two vivacious young romantics, and an ensemble of seasoned vets who chew up their scenes with twang. Beautiful Creatures doesn't wallow in relationships, it sparks them with frank sexuality and a dash of biting commentary. So long, Twilight.
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Alden Ehrenreich (Tetro) stars as Ethan, an ambitious resident of Gatlin, SC who dreams big and has a particular penchant for plowing through the town's banned book list (yes, even in modern times, there are people who don't see To Kill a Mockingbird as reading fit for teenagers). Waking him up from the doldrums of suburban life is new student Lena Duchannes (Alice Englert of Ginger & Rosa), niece of the towns' notorious Ravenwood family, who becomes the target of public shaming. Beautiful Creatures does not skirt around the strong Christian influence of Southern culture and, as someone the kids believe is a Devil worshipper, Lena is an instant outcast under violent, verbal attack. Quite literally, kids pray in the class room to protect themselves from Lena's bad vibes. If Ethan didn't find the girl attractive in her own right, her position at the bottom of the social ladder fuels his infatuation.
Because today's young romances demand a supernatural element, Lena eventually reveals to her courter that she's a "caster," the nice word for witch in the world of Beautiful Creatures. When Lena turns 16, she'll be subject to "The Claiming," a decision (made by the moon?) that will force her to either the light, nice and peachy side, or the dark, wicked and bloodthirsty side of casting. It's a countdown for Ethan, who realizes he has little time to connect with and possibly save his newfound love. Believing she has the ability to choose her fate, patriarch Macon Ravenwood guides Lena in the ways of the light — while disapproving of her relationship with Ethan.
RELATED: 'Beautiful Creatures' Director 'Not Annoyed' By 'Twilight' Comparisons
The magic logic is as ridiculous and overly complex as it sounds, but Beautiful Creatures writer/director Richard LaGravenese (The Fisher King, P.S I Love You) never loses track of his characters and their interesting quirks. Jeremy Irons is a master spinster of exposition — if his Macon is laying down a mythology-building speech or rattling off the "rules of the Ravenwood family curse," it all sounds like Shakespeare. Emma Thompson does double duty in this department, playing the disturbingly conservative Mrs. Lincoln with recognizable, motherly terror, and her alter ego, a version of Lincoln possessed by a banished witch looking for revenge on Lena. Thompson spars with Macon and cackles in all her thick Southern accent glory, jumping between personas without a misstep. It's glorious.
LaGravenese makes two inspired discoveries with Ehrenreich and Englert, who set the bar for performances in the genre. Ehrenreich is charming and warm, acting like an actual human being in the midst of a fantasy. He makes adorably awful small talk to woo Lena, he worries about her when she destroys the windows of a classroom with her mind, he becomes vicious when the Ravenwoods attempts to interfere with their relationship — all natural. Englert is like a young Kathleen Turner, her husky voice and sharp wit turning Alice into an unusually strong female lead. The young caster is vulnerable as her relationship blossoms, but fully capable of turning a family dinner into a merry-go-round from hell. The two are electric on screen, even at their campiest moments. Yes, they're destined lovers, descendants of a couple murdered during the Civil War, but even without the back story, Alice and Alden have a sweet, scary, and fiery romance.
At nearly two hours, Beautiful Creatures could stand to lose a few plot threads — Emmy Rossum arrives halfway through as Lena's Siren cousin, a painful attempt by the actress to steal the spotlight with exaggeration — but stands as proof that tween source material can be done right. As it does with the cast, the film is enhanced by its moody visuals and engaging soundtrack by alternative rock band Thenewno2, all setting the tone for Alden and Alice's fateful entanglement. The movie shows no fear depicting teens in love or the ramifications of America's belief system — touchy subjects that feel daring in a Hollywood production. That's the movie's real magic.
[Photo Credit: Warner Bros. Pictures]
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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.
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.