Sam Smith is off to a winning start at the 57th Annual Grammy Awards after picking up the first big prize of the night for Best New Artist. The British soul sensation fought off competition from rapper Iggy Azalea, country singer Brandy Clark, rockers Bastille and sibling trio Haim to claim the title, one of six he is nominated for at Sunday night's (08Feb15) ceremony.
After giving thanks to his label representatives, a stunned Smith closed his acceptance speech saying, "Mum and Dad... I won a Grammy!"
Heavy rockers AC/DC opened the Los Angeles prizegiving at the Staples Center with a medley of hits, including Rock or Bust and their classic Highway to Hell, with former bandmate Chris Slade sitting in for embattled drummer Phil Rudd, who is facing criminal charges in New Zealand.
The veteran musicians had celebrity fans including Lady Gaga, Sir Paul McCartney, Blake Shelton and Katy Perry rocking out in the crowd as they made their first appearance at the Grammy Awards in four years.
Best New Artist was the first award of the televised ceremony, but a number of artists were already winners as they walked the red carpet at music's big night.
Lady Gaga and Tony Bennett landed the Best Traditional Pop Vocal Album for their Cheek To Cheek project, while Jack White's Lazaretto was named Best Rock Performance and Paramore claimed Best Rock Song for Ain't It Fun.
Kendrick Lamar was also an early double winner, scoring accolades for Best Rap Performance and Best Rap Song for I, while another six-time nominee, Beyonce, won the Best R&B Song for Drunk In Love, featuring Jay Z.
Did you get all that the 90s had to offer? If not then you need to get nostalgic and start binge-watching the best TV shows and movies of that decade. So if you want to look back on the bad fashion, the hot celebrities, the music and more, here are 20 things you need to watch that has it all.
This is definitely one of the most quotable movies of this decade. Watch clueless Cher (Alicia Silverstone) play match maker to multiple people around her.
2. Pulp Fiction
Every Quentin Tarantino fan would say this is a must! This classic follows four storylines including two mob men, a boxer, the wife of a mob man, and a couple of bandits.
3. Jurassic Park
Even in a post-Avatar world, this movie is impressive with its visual effects. If you never watched the original go back and watch Spielberg's take before watching the new reboot.
4. The Sixth Sense
It's been a while, so chances are someone might have spoiled the ending for you already, but trust us and watch it anyways. This scary and suspenseful movie makes it all worth it.
Warner Bros. Television/Giphy
Because of this show, and the beautiful Jennifer Aniston, was the reason so many women were asking for "The Rachel" in their hair salon. Get in late on the craze.
6. The Fresh Prince of Bel-Air
This show is proof that Will Smith has always been amazing. Alfonso Ribeiro also had people laughing and doing "The Carlton."
7. Boy Meets World
Michael Jacobs Productions/Giphy
We're sure you're already catching the syndication of this show on TV, but we couldn't leave it off our list! Watch Cory Matthews (Ben Savage) and those around him grow before your eyes through 7 seasons.
Need a show that understands your dating problems due to being neurotic? Look no further.
9. Dawson's Creek
You can't talk about this decade without acknowledging the show that gave us James Van Der Beek, Katie Holmes, and Michelle Williams. Can you?
10. Full House
Jeff Franklin Productions/Giphy
To this day people still quote little Michelle saying "You got it dude!" Watch Bob Saget being a single father of three and getting help from his friends.
11. Buffy the Vampire Slayer
Get in on the Buffy craze by watching her fight off evil vampires and demons with her friends.
12. Boyz n the Hood
Colombia Pictures Corporation/Giphy
This movie follows a group of childhood friends growing up in the hood in Los Angeles. Other than a gripping story line, this movie offers fashion flashbacks galore.
13. Twin Peaks
This TV show only had two seasons, but people still mention it to this day. Watch FBI agent, Dale Cooper (Kyle MacLachlan) try to find out who murdered of Laura Palmer.
Impact Zone Productions/Giphy
Were you a girl growing up and outnumbered by men? Well poor Blossom Russo feels your pain.
15. The Silence of The Lambs
Find out why "put the lotion in the basket" is so damn creepy. This thriller shows Clarice Starling (Jodie Foster), an F.B.I. agent seeking help from an incarcerated killer in order to catch a serial killer who skins people.
16. Fight Club
Fox 2000 Pictures/Giphy
Look back on Brad Pitt's beautiful frosted tips with this movie. Edward Norton plays an office worker who isn't getting any sleep. When he meets Tyler Durden (Brad Pitt) they end up switching things up by creating a fight club.
Forget about watching another sitcom with a seemingly perfect family. This show had working class people in the forefront and of course hilarious Roseanne Barr cracking jokes.
18. American Pie
This filthy franchise all started with four high school friends making a pact to lose their virginity. Have a fun looking at what Tara Reid was doing before Sharknado.
19. The Blair Witch Project
Thanks to this now we have Paranomal Activity, and many other "found footage" films. This movie shows three film students creating a documentary about a Blair Witch legend.
20. Dumb and Dumber
Jim Carrey and Jeff Daniels are very stupid, but very funny friends that go on a cross-country adventure.
What are your favorite things to watch when you miss the 90's? Tweet us your answers using the Twitter handles below!
An original tour DJ and roadie for Oasis is set to unveil an exhibition of rare photographs of the band for one night only in London next month (Aug14). Phil Smith collected hundreds of pictures from his time on tour with the Wonderwall hitmakers, and now he will display more than 100 Oasis photographs from his private collection at the Scala art gallery on 30 August (14).
One of Smith's pictures has been used in the box-set reissue of the band's iconic album (What's The Story) Morning Glory?, which is due for release later this year (14).
During the exhibition, Smith will also play a DJ set, and Oasis tribute band Oasis UK will perform the group's 1994 debut album Definitely Maybe in its entirety.
Sony Pictures via Everett Collection
A long way from their little watched but brilliant animated MTV comedy Clone High, Phil Lord and Chris Miller have risen meteorically over the past few years, and have quickly become the brightest comedy duo in Hollywood. The two have been working together for nearly 20 years and have become masters of taking seemingly soulless adaptations and crafting smart and hilariously self-aware comedies. Only a few months after the release of The Lego Movie, the duo's latest, 22 Jump Street, is set to hit theaters on Friday. We got a chance to sit down with this symbiotic comedy writing/directing machine as they discuss the struggles of having two people and only one director's chair, how their particular college experiences made it into the film, and why the best jokes are the ones that not everyone gets.
Lord and Miller discuss the challenges of having two directors working on one film:
Phil Lord: "We’re both creative people. We both have a vision of how it should be. Things can’t always be exactly the same, and you have to have the humility to let it be the other guy’s idea sometimes."
Chris Miller: "It’s a big fear for an actor, that one of us is going to say one thing in one ear while the other is going to say the opposite in another and their brain is going to explode. We develop the scripts for a while, and we talk about the scenes a lot and we have a similar sensibility and the same goal for the movie. So when we come into a scene we’re pretty much aligned in what we want to get out of it. In the times where we have a disagreement about what we want to get out of a scene, that’s why you have multiple takes."
Lord: "It takes just as long to do another take [as] it does to argue about whether you should do another take. Just do one. And I trust this guy if he has something that he wants to do, we should just do it."
Miller: "Yeah, if one of us wants to get a sweeter version or a real wild version, you can figure it out in the editing room."
But sometimes there's trouble in paradise:
Lord: "We’ve had those moments, like, 'I’m going to lunch with someone else.'"
Miller: "We’re like brothers, where we fight and love each other and respect each other. We’ve had such a long history together. We’ve known each other for 20 years."
Lord: "Like many men, our strategy of working out our conflict is: get pissed off, walk away, and then never speak of it again."Miller: "Avoidance. It works!"
The directors discuss how they infuse their own personal brand of humor into their work, even if not everyone gets it:
Miller: "We find that we’re trying to make ourselves laugh. Some of that stuff that only a small percentage of the audience gets, it’s kind of fun if you’re one of the people that gets it. You’re part of the club, and if it goes by quickly and doesn’t sit there like it’s a big swing, then you can sort of get away with it. Sometimes we’ve tried things that are too obscure but were clearly attempts at jokes. And the audience didn’t respond, so we [took] them out ... It’s been our philosophy to not talk down to the audience."
The duo discusses their shared comedy touchstones in college:
Miller: "When we met, we had Harold and Maude, The Jerk, Billy Wilder, Young Frankenstein. We bonded over the same movies."Lord: "You don’t like Howard the Duck as much as I do."Miller: "This is true. See, there you go. We’re not exactly the same."
And how their own college hijinks inspired a party scene in the film:
Lord: "Well, we have the best pong-playing [scene] in the history of cinema. Or the most accurate, I should say. We had to teach Channing [Tatum] and Wyatt [Russell] how to play..."Miller: "Dartmouth style."Lord: "Very specific Dartmouth rules. Lob only, you gotta use paddles. None of this Beirut throwing nonsense. So we’re just off-screen playing in those shots."
Sony Pictures via Everett Collection
I find it difficult to remember a time that I was as gobsmacked by a comedy as I was by 21 Jump Street. It represented all of the things no one wanted in a film: a reboot of an '80s television show, another buddy cop send-up, and Channing Tatum doing comedy. So what a surprise it was when the film turned out to be such a pleasant surprise — a big studio comedy so blissfully self-aware and meta, but also downright funny. It took all the worries I had about reboots, television adaptations, and Tatums, and confronted them with such an subversive kick in the pants, becoming the standout comedy of 2012. A surprising marvel risen out of such bottom barrel expectations. But now the follow-up, 22 Jump Street, has a whole new set of worries to address, and the film wastes no time in bringing that same self-deprecating hilarity to the subject of sequels. And it suceeds… for the most part.
In its own existential way, 22 Jump Street is really a sequel about sequels. It unhooks all the underpinnings of second films and mocks the big studio cynicism that floats over any big-budget follow-up to a successful property, reconfiguring the notion into a farcical blend of self-mockery. As Nick Offerman's police chief character lays out in thick slabs of meta exposition, the Jump Street reboot was a surprise success, so the department now has double the budget for the follow-up program that sees Detectives Schmidt (Jonah Hill) and Jenko (Tatum) infiltrating a college campus to “do the same thing” they did before... except it probably won’t be as successful and people won’t like it as much. Get it? How can you not?
That thread of meta humor is woven through the entire film, and 22 Jump Street doesn't feel as much as a follow-up to the first Jump Street film but a full-on parody of it. And while calling something a parody of itself is usually a pejorative remark, here it's the clear intention. The film is several grades sillier than its predecessor, and is nothing short of a live-action cartoon. Really, it's just as effervescent and spastic as writer/directors Chris Lord and Phil Miller's last feature, The Lego Movie. 22 Jump Street isn't just on the nose, it is the nose. And if that sort of humor rankles you, there won't be much for you to enjoy in 22 Jump Street. But for those of us with a high tolerance for the ridiculous — for instance, an early suspect in the drug case literally has a tattoo of a red herring — then there's a lot to like in this sequel.
Sony Pictures via Everett Collection
There’s a lovely lack of logic coursing through the film, and its frequently and riotously funny. Tatum is transitioning into quite the physical comedian, and Hill’s vulnerable Schmidt adds some nice emotional beats to a film that's wildly unconcerned with anything approaching reality. Ice Cube’s Capt. Dickson also gets way more to do this time around, giving the film some of its biggest laughs. The whole thing is infused with such unbridled creative energy, thanks to Lord and Miller, but the film also gets lost in its own narrative aspirations.
So many of the narrative beats are the same as those in 21, but inverted and packaged with a supplementary wink and nod at this mimicry. Oddly, the film feels simultaneously ambitious and rote all at the same time. Here’s a film trying its best to subvert the notion of sequels, but falls right into the trap it spends so much time lampooning. Much of the time watching the film is spent waiting for the other boot to drop, but it never really does. The set-up and the punchline of the film’s central gag is the same: we did it same thing again. Isn’t that funny? Well, yeah, sure, but only partially, because we already saw it last time.
It's hard to criticize 22 Jump Street for not quite reaching its narrative ambitions when it's so often side-splitingly funny despite them. Yeah, its meta humor doesn't work 100 percent of the time, but when it does, it's hilarious. The sequel is so remarkably odd and interesting with its approach to crafting a follow-up that we're excited to see what comes next from the series. I hear there's a Laotian mega-church being built right across the way at 23 Jump Street.
Sony Pictures via Everett Collection
What does it take to be funny? After delivering some hilarious drug-busting hi-jinks in the delightfully subversive 21 Jump Street, officers Jenko and Schmidt have graduated high school and are making the big move to college in the sequel. But is the joke still funny in 22 Jump Street? We sat down with Channing Tatum and Jonah Hill to talk about making room for improvisation in the finely tuned world of Chris Miller and Phil Lord, the development of some of the film's most memorable jokes, and Tatum's uncertainty in transforming from a pretty slab of beef to a genuinely gifted comedic actor.
Warning: This interview mentions specific jokes contained in the film.
There might not be as much off the cuff material in the film as you'd think:
Channing Tatum: "[Lord, Miller, and Hill] are great writers, so it’s not like we just walk in and start improving. There’s really, really, really witty and great writing. It’s not just jokes, there’s actually some really good character and relationship stuff between Jonah and I and some of the other characters. They write and then we do what’s on the page, and we do that a bunch of times until we feel that we’ve got it. And then it’s like, teacher blows the whistle and it’s recess time on set."
And it was tough for Tatum to adapt to the comedy game:
Tatum: "I was like, 'Man, I don’t know if I can do this comedy stuff.' The way you do it is different than other movies, sometimes. You’ll just take a run at a line and do it a bunch of different ways. Sometimes you’ll just take a minute and be like, 'All right, let’s see if we can make sure we have this line.' That’s not generally what you do in drama. That was weird and you don’t have this overwhelming feeling that it’s working, ever. I think people are laughing at times, but I’m not sure it’s going to all come together and just because it was a form that I didn’t understand all that well."
"I had to learn how to let go on the first one, and just leave it up to the gods, or Chris and Phil. I had no ego going into it, and generally don’t on any movie, really, because the best idea in the room wins. You just gotta step up to the plate and swing as hard as you can and try to keep growing and try to keep on taking parts that challenge you in movies that aren’t some derivative version of another movie that you’ve done ... You do want to push yourself, and if you keep doing that, you will keep getting better and you will keep doing better work. When I asked [Hill], I was like, 'Look, man, I just don’t know how to be funny. I just don’t know how to do that. I don’t see myself as that.' and he’s just like, 'Look, I just want you to be a good actor, and come in and don’t try to be funny. Let me worry about knowing what’s going to be funny in the scene.' And I really did. I left it up to him. Chris and Phil were great. And we just started trudging down the field and tried to make a good movie."
Tatum and Hill discuss some of their favorite gags from the film, including the made up land of "Puerto Mexico"...
Jonah Hill: "Puerto Mexico [is] a perfect example of a Phil Lord and Chris Miller Joke. Where you just read that and are like “I have no idea what that means, but you guys, I totally trust you guys."Tatum: "It’s truly funny to them. They think it’s the funniest thing in the world and I can see someone else making that joke and it not working out in the movie somehow, and for some reason, they just make it work."
...and mixing up carte blanche with Cate Blanchett...
Tatum: "I think that was [Jonah's] joke."Hill: "No, that might have been Rodney Rothman. He’s a great writer and a friend of ours. He’s one of the writers on the film. He’s been a friend of mine for years and years, and he’s been a friend of Phil and Chris’ for years and years. So when we were writing this one, we were like, let’s have Rodney write with us so we can soak up his genius. That joke is funny. I think that’s my favorite joke in the movie."Tatum: "We tried to actually get her, I think ... She was busy."Hill: "Yeah, for some reason, [laughs] she didn’t want to be in the movie ... Turns out we didn’t have carte blanche."
22 Jump Street hits theaters on Friday, June 13.
Paramount Pictures via Everett Collection
Will Ferrell will put on the dunce cap once again. According to Deadline, TriStar has purchased The Yank, in which he'll play a mild-mannered insurance courier who finds himself in the middle of a heist to steal the crown jewels. Since the large majority of us don't stumble our way into the middle of gigantic, illicit conspiracies, it's safe to say that Ferrell's latest character won't be the brightest bulb in the box. In fact, Ferrell has made a career of playing dim-witted dunderheads. Even his ostensibly smart characters are clearly lacking a couple thousand brain cells. But which is the dumbest dope that Ferrell has ever played? We've decided to rank all of Ferrell's idiots in ascending order of stupidity.
Megamind (Megamind) Megamind is actually a genius, albeit an evil one, so he gets the top spot. However, he is a dope when he comes to relationships.
Harold Crick (Stranger Than Fiction)Sacrificing your life in the name of great art is quite an academic pursuit, so cheers.
Det. Allen Gamble (The Other Guys) Under a slightly frumpy and dopey exterior is actually the mind of a pretty gifted detective. In any case, you have to be doing something smart to attract Eva Mendez.
Buddy (Elf) Buddy isn't stupid as he is just lost in a world that isn't constantly running in full-on Christmas mode. The North Pole is a long sleigh ride away from Manhattan.
Chazz Michael Michaels (Blades of Glory)It does take some smarts to weasel your way back into a sport you were banned from. Too bad the tapes of him figure skating with Jon Heder will exist on the internet forever. That's quite the oversight.
Dr. Rick Marshall (Land of the Lost)Marshall is actually a gifted scientist, but for all of his fancy book learning, he does lack an incredible amount of common sense.
Phil Weston (Kicking and Screaming)Getting that wrapped up in pee-wee soccer, the least worthy pee-wee sport there is, is almost criminally stupid.
Cam Brady (The Campaign) Cam Brady nearly makes real politicians seem smart...nearly.
Jackie Moon (Semi-Pro)In Jackie Moon's world, wrestling a bear is a good way of promoting your failing basketball franchise.
Mustafa (Austin Powers) He's quite the survivor ("I've been very badly burned"), but if you can only take three questions before spilling clandestine info, then you're the worst henchman possible.
Ricky Bobby (Talladega Nights: The Ballad of Ricky Bobby)Sweet baby Jesus is Ricky Bobby dumb. He's the epitome of every Nascar stereotype every conceived.
Steve Butabi (A Night at the Roxbury) These club-addicted idiots have nothing rattling around their heads beyond velour suits and Haddaway's "What is Love."
Brennan Huff (Step Brothers)Brennan is probably the biggest and most spoiled man-child ever produced by the Ferrell and McKay tag team.
Ron Burgundy (Anchorman)Ron is pretty close to the top. Fortunately enough for him, though, the rest of the world surrounding him is nearly as stupid as he is.
Frank "The Tank" Rickard (Old School)Frank the Tank is definitively the stupidest person Will Ferrell has ever played. He somehow manages to shoot himself with a rhino tranquilizer just in time to ruin a kid's birthday party.
Rock icons Iggy Pop, New Order and Patti Smith took to the stage in New York City on Tuesday night (11Mar14) to headline the 24th annual Tibet House U.S. Benefit Concert. The event, in aid of helping to preserve Tibetan culture, included an energetic performance from Pop, who powered through his tracks Sister Midnight and Nightclubbing, before he joined New Order stars Bernard Sumner, Phil Cunningham, and Tom Chapman for a rendition of Love Will Tear Us Apart.
Smith tackled Perfect Day, by late legend Lou Reed, and shouted out to the crowd, "Don't forget it - use your voice."
Pop and Smith have performed at the concert on several previous occasions.
For the bulk of every Rocky and Bullwinkle episode, moose and squirrel would engage in high concept escapades that satirized geopolitics, contemporary cinema, and the very fabrics of the human condition. With all of that to work with, there's no excuse for why the pair and their Soviet nemeses haven't gotten a decent movie adaptation. But the ingenious Mr. Peabody and his faithful boy Sherman are another story, intercut between Rocky and Bullwinkle segments to teach kids brief history lessons and toss in a nearly lethal dose of puns. Their stories and relationship were much simpler, which means that bringing their shtick to the big screen would entail a lot more invention — always risky when you're dealing with precious material.
For the most part, Mr. Peabody & Sherman handles the regeneration of its heroes aptly, allowing for emotionally substance in their unique father-son relationship and all the difficulties inherent therein. The story is no subtle metaphor for the difficulties surrounding gay adoption, with society decreeing that a dog, no matter how hyper-intelligent, cannot be a suitable father. The central plot has Peabody hosting a party for a disapproving child services agent and the parents of a young girl with whom 7-year-old Sherman had a schoolyard spat, all in order to prove himself a suitable dad. Of course, the WABAC comes into play when the tots take it for a spin, forcing Peabody to rush to their rescue.
Getting down to personals, we also see the left brain-heavy Peabody struggle with being father Sherman deserves. The bulk of the emotional marks are hit as we learn just how much Peabody cares for Sherman, and just how hard it has been to accept that his only family is growing up and changing.
But more successful than the new is the film's handling of the old — the material that Peabody and Sherman purists will adore. They travel back in time via the WABAC Machine to Ancient Egypt, the Renaissance, and the Trojan War, and 18th Century France, explaining the cultural backdrop and historical significance of the settings and characters they happen upon, all with that irreverent (but no longer racist) flare that the old cartoons enjoyed. And oh... the puns.
Mr. Peabody & Sherman is a f**king treasure trove of some of the most amazingly bad puns in recent cinema. This effort alone will leave you in awe.
The film does unravel in its final act, bringing the science-fiction of time travel a little too close to the forefront and dropping the ball on a good deal of its emotional groundwork. What seemed to be substantial building blocks do not pay off in the way we might, as scholars of animated family cinema, have anticipated, leaving the movie with an unfinished feeling.
But all in all, it's a bright, compassionate, reasonably educational, and occasionally funny if not altogether worthy tribute to an old favorite. And since we don't have our own WABAC machine to return to a time of regularly scheduled Peabody and Sherman cartoons, this will do okay for now.
If nothing else, it's worth your time for the puns.
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When the world learned of the existance of a 21 Jump Street film reboot, the response was decidedly negative, and rightfully so. Reboots of '80s TV shows are hardly ever successful, or even watchable, which is why we were all surprised when the Jump Street reboot was actually a pretty enjoyable romp. A film that didn't just clear the low bar of expectations collectively set by everyone with sense, but vaulted over with confidence. Now that the sequel has come around, how excited are we for the prospect of another film? Part of the charm of 21 Jump Street was the fact that it should have been terrible. A purely nonsensical reboot based on an '80s TV show that was quickly slipping through the seams of public consciousness had no chance of being good, but somehow, almost against the laws of science and nature, the film turned out to be surprisingly fun. But was it really that good, or were we just relieved it wasn't awful? Expectation is a powerful thing, and Jump Street was certainly graded on a curve as a result. Now, the sequel 22 Jump Street actually has certain expectations to meet.
Judging from the latest green brand trailer, we think this film might have the goods. While this green band trailer lacks the raunch and saucy language of the red band one, it's still pretty darn entertaining. Nick Offerman lays on the film's meta premise in thick coats, as he explains the improbable circumstances that brought the Jump Street program to their latest case, and a sequel to the first film to theaters. Naturally, fake high schoolers/police detectives Jenko (Channing Tatum) and Schmidt (Jonah Hil) have graduated to college. Since thirty-somethings attending college does actually happens in real life, this isn't nearly as absurd of a presence as the original. Once again, the duo is investigating a drug ring inside of a school, but now all of the jokes spoofing high school cliches have been upgraded with more collegiate ones. That means frat parties! Dorm room decorating! Lecture halls! It's all there like you remember... or sort of remember, it's kind of hazy. Plus, we're treated to copious amounts of bullets being fired into the air, Ice Cube unknowingly using sexual innuendo, and your usual slew of pop culture gags. All pretty funny stuff.
There's also the added fact that the film's writers, Phil Lord and Chris Miller, also wrote The Lego Movie, a hilariously original feat that was far better than expected. It seems like these guys have a knack for surpassing expectations, and hopefully 22 Jump Street makes us a believer once again.