Justin Bieber continued his quest to grow up in the eye of the public when he followed in the footsteps of teen idols Justin Timberlake, Taylor Swift, and Britney Spears before him as both host and musical guest on Saturday Night Live. He's been amusing in the past in guest spots, but could he carry a whole show by himself?
The verdict: Though surely the Biebs would love to duplicate some of the success as frequent SNL guest Timberlake, he just doesn't have the charisma and natural comedic timing as J.T. — or even last week's mediocre musician-turned-host, Adam Levine. After a week full of jokes about how attractive women find Levine, it just seemed icky that every skit focused on how irresistible Bieber is to teen girls.
It's refreshing to see a non-political cold open, so this skit about the desperate vamping CBS' sports analysts had to do to fill the 35 powerless minutes during last week's Super Bowl. An amusing concept, though much like that actual filler, it wore thin very quickly.
RELATED: 'SNL' Recap: Was Adam Levine Marooned?
Justin Bieber's Monologue
The opening monologue and a later skit full of Bieber lookalikes in matching hoodies, leather jackets, and red sneakers both capitalized on Biebs' hearrthrob status. In the monologue, Bieber got an assist from Kenan Thompson as he romantically serenaded young ladies in the audience not about Valentine's Day, but about Black History Month. Because they both fall in the same month, get it? The punchline came when Biebs pulled up Whoopi Goldberg to the stage and serenaded the comedian, whose mere presence was amusing enough to get a few chuckles.
This skit becomes increasingly less amusing each time, but Bieber did pull off the show's oddball surfer accent quite well. Although "The Californians" started off pretty funny, by now it's as tedious as any of the show's other relied-upon recurring skits. Let's hope they retire this one alongside "What's Up With That" and only trot it out on special occasions.
SNL's pre-taped skits are usually pretty amusing, and this spoof on Bravo's continued employment of spinoffs as a programming strategy was no exception. Coming soon on the Andy Cohen network: shows about houseplants, gay chauffeurs, Francis Ford Coppola's granddaughters' best friends and Justin Bieber as an Austrian lothario.
NEXT: Weekend Update saves the episode...
Seth Myers is reliably funny as Weekend Update anchor, and this week was no different. His special guests included Vanessa Bayer and Fred Armisen as the gossiping best friends of Richard III, whose body was recently discovered under a British parking lot, and Thompson as Corey, the one black guy in every commercial who likes to high five — or he'll die.
RELATED: 'SNL' Recap: Did Jennifer Lawrence Hit a Bullseye?
Did you know that girls love Beiber? In case you didn't, this Grease parody reminded you that Biebs, dressed as dim-witted '50s greaser Billy recounting his strange date with Cecily Strong's Angie. It's funny because at the end he reminded her that he wasn't dumb, he was 11, and she was totally cool with it because he's hot.
The Miley Cyrus Show
It's Miley! Bayer's beloved skit returned a little edgier (minor key theme song) and with an all-new haircut (bleach blonde Flock of Seagulls-inspired), much like Miley herself. Biebs played essentially his "Californians" character as the head of Miley's fan club, where he winkingly addressed the pictures of him smoking pot. Bayer's Cyrus is always a delight, and this was no different.
Meeting the parents — supremely awkward, and a frequent SNL skit topic. Biebs played the new boyfriend Nasim Pedrad brought home to meet her parents — and her bully older brother, played by Taran Killam, who harped on young Bieber nervously stumbling over his words during their introduction. Continuing in the Timberlakian tradition, Biebs couldn't keep a straight face as Killam berated him for saying the word "glice," but in all fairness, we probably couldn't either.
A Valentine's Message from Justin Bieber
Bieber recorded a sexy message for the ladies, but it wasn't that sexy because it's Bieber and also because Bobby Moynihan was there as some sort of adult baby in a heart-adorned onesie.
Performances: "As Long As You Love Me" and "Nothing Like Us"
Bieber can sing quite nicely, but both songs from his just-released "Believe: Acoustic" reeked of his desperate "I am a grown up" schtick. If you like Bieber, you probably really liked the songs. If you don't, you probably didn't.
Principal Frye: Valentine's Day
No show about a teen heartthrob would be complete without an extended abstinence joke — though this one was actually pretty funny. Why was it relegated to the end of the show? That's where the weirdo, experimental skits live, not recurring ones like this, which was amusing but not hilarious, much like Bieber's entire episode.
What did you think of Bieber's hosting ability? Did he reach Timberlake status, or at least compare to this season's other musician/host, Bruno Mars?
Follow Jean on Twitter @hijean
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WHAT IT’S ABOUT?
Pixar makes it ten gems in a row with this enchanting animated story of 78-year-old Carl Fredricksen a recent widower who decides to fulfill his (plus his late wife’s) lifelong dream of tying thousands of balloons to their house and floating off to a mountaintop in South America. But he soon discovers a stowaway in the form of Russell a precocious eight-year-old “Wilderness Explorer” who he reluctantly allows to accompany him on his journey. Together the unlikely pair embark on the adventure of a lifetime encountering Kevin a rare 13-foot tall-flightless bird; Dug an overly-friendly talking pooch; and Charles Muntz a once-famous adventurer who now lives alone in a massive airship surrounded by a pack of attack dogs.
WHO’S IN IT?
Sticking to their general custom of casting actors not big stars in key voice roles Pixar assembled a superb cast for Up led by veteran TV star Ed Asner (The Mary Tyler Moore Show) as the aged Carl who takes flight in his house and finds there is a lot to learn about life even as you near death. Asner’s grumpy delivery provides the perfect counterpoint to nine-year-old Jordan Nagai’s Russell a bright and optimistic kid who proves an invaluable assistant to Carl throughout their journey. Christopher Plummer (The Sound of Music) is authoritative and intriguing as the obsessed Muntz and John Ratzenberger (Cheers) extends his streak of Pixar films to 10 as a construction engineer who tries to convince Carl to sell his house. Bob Peterson does delightful double duty as two of the key dog voices lovable Dug and the menacing Alpha head of the pack.
Like Pixar’s previous Oscar-winning masterpiece Wall-E Up is a ‘toon that is not content to explore the same places we’ve seen in previous animated blockbusters. Centering an action comedy around a 78-year-old man isn’t a strategy you’ll find in the youth-obsessed Hollywood recipe book but it pays great dividends here with a moral that life’s greatest adventure is the one you share with someone you love. The non-humans — particularly Kevin and Dug — are hilarious and unique and a silent sequence detailing the courtship and marriage of the Fredricksens is a sweet touch that could have come straight out of a Charlie Chaplin movie.
With a string of critically-acclaimed hits that includes Toy Story Finding Nemo The Incredibles Ratatouille Wall-E and now Up Pixar is ruining it for everyone else. There is simply no way they can be topped when it comes to pushing the boundaries of animated movies. Bad for other studios. Good for us.
Could Up which just became the first animated film to open the Cannes Film Festival also become the first to be nominated for the Best Picture Oscar since Beauty and the Beast in 1991 (before the Animation category was even established)? At this point in the year it’s actually a good bet. Whatever the case expect Up to earn several nominations come Oscar time.
A swashbuckling swordfight across the skies between two near-octogenarians? It’s the best action scene in a summer full of ‘em.
NETFLIX OR MULTIPLEX?
Oh pleeeeeease! Get to a theater fast. Up is also available in 3-D at select locations. Either way it’s a must-see.
The young and idealistic Hughes (Leonardo DiCaprio) is driven by two forces in his life: airplanes and Hollywood. The Aviator begins in the 1920s as Hughes obsessively works on his silent debut film Hell's Angels which he ends up scraping completely to remake as a talkie thus making it the most expensive film of its time. While embarking on doomed affairs with Katharine Hepburn (Cate Blanchett) and Ava Gardner (Kate Beckinsale) Hughes also builds a plane that makes him the fastest man in the world in 1935. The millionaire even engineers a new bra to make the most out of Jane Russell's cleavage for his next film The Outlaw while running TWA and building planes for the government during WWII. Yet the mental illness that would consume Hughes later in life begins to rear its ugly head after he breaks up with Hepburn. As does his dogfights with Pan Am's Juan Trippe (Alec Baldwin) who sics his in-pocket politician Sen. Ralph Owen Brewster (Alan Alda) on Hughes--which coming after the flyboy crashes his experimental spy plane leaves him with only a couple of good fights left in him. Hughes eventually stands up to Brewster's senate investigation and then manages to finish and ceremonially fly the Spruce Goose. But soon he makes his final descent into undiagnosed and untreated madness.
The Aviator provides a bevy of tour de force performances. As the leading man DiCaprio gives us an Oscar-worthy turn as Hughes vacillating easily between the playboy the industrialist the aviator and finally the madman. In seducing a cigarette girl the suave DiCaprio says one of the best lines in the film: "I want to find out what gives you pleasure. Would you give me that job? " which pretty much sums up Hughes' modus operandi. The scenes between DiCaprio and Blanchett as the spirited Hughes and Hepburn are also fun and lively especially in their first meeting on a golf course in which Hepburn talks a blue streak while Hughes quietly admires her. Blanchett does an amazing job emulating the acting legend without doing a strict imitation. The worst performance in the film could be Blanchett's nose which looks nothing like Hepburn's but that's about it. The exquisite Beckinsale also does a marvelous job as Ava Gardner who had a brief and tumultuous affair with Hughes but ended up more his confidant than anything else. In supporting roles Alec Baldwin seems to be settling in nicely as one of Hollywood's favorite heavies playing Trippe's malevolence with a twinkle in his eye. As does Alan Alda who again delivers admirably as the elder statesman of "mean."
Marty Marty Marty. Why can't you make a nice two-hour film like everybody else? It's probably not fair to harp on the film's length but it isn't just long it feels long. Rather than being a cohesive whole director Martin Scorsese and screenwriter John Logan deliver a montage of expertly constructed scenes and sequences without giving us a true understanding of who Howard Hughes really was. Perhaps Howard Hughes is just too much of a character for one film. The closest we come to getting inside Hughes' mind is during the breath-taking crash of the FX-11 into a Beverly Hills residential area which is undeniably one of the best crash scenes ever filmed. Scorsese is obviously a master filmmaker but some of his old tricks aren't working here. The patchwork quality of the film is underscored by the director's varying use of different period styles--from a washed out look of a '40s home movie to a vivid contemporary look. Used to great effect in his films such as Raging Bull and Goodfellas now it seems out of place in The Aviator. It's true Scorsese will more than likely get another shot at Oscar gold for The Aviator but if he wins it will definitely be for his vastly superior previous work.
From the creators of the TNT miniseries Gettysburg including executive producer Ted Turner and writer/director Ronald F. Maxwell Gods chronicles the Civil War from its beginnings when the South rises up. Confederate General Robert E. Lee (Robert Duvall) a distinguished military man but also a loyal native Virginian chooses to fight for his home rather than his country while Thomas "Stonewall" Jackson (Stephen Lang) a devoutly religious man becomes Lee's most trusted lieutenant. On the other side we have Colonel Joshua Chamberlain (Jeff Daniels) a professor from Maine who ends up one of the Union's finest military leaders. In between there are glimpses of the wives and families left behind. Stories of this magnitude with their dramatic bloody battles and tragic endings usually leave you numb or crying for those lives lost and destroyed. Instead Gods and Generals holds no resonance whatsoever meticulously plotting out the details and making this decisive moment in American history interminable at three and a half hours. It's like wading through a textbook--or worse watching Civil War fanatics carefully reenact the famous battle scenes on the very ground they were fought over and over again--while the players stand around quoting long-winded verse from the Bible or Shakespeare's Julius Caesar. Blech.
The actors in Gods and Generals must have honestly thought they were making something important when they signed up. Main players Lang (who played Major Gen. George Pickett in Gettysburg) and Daniels (who reprises his Gettysburg role as Chamberlain) have their moments but after hearing them recite one speech after another especially Lang's Jackson who says more prayers to God than anything else you start to wonder if they ever realized they made a mistake. (Or have we for sitting through it?) One of the more superfluous scenes is when Jackson and his black cook Jim played by Frankie Faison are standing outside in the freezing cold night for about 15 minutes both looking up at the stars and praying to God. It seems like the actors are trying to make such sermonizing poignant meaningful but all this pontification simply drags the movie further down. These speeches aren't just Lang's and Daniels' territory--Mira Sorvino as Chamberlain's wife and Kali Rocha as Jackson's wife get their own personal moments in the sun too. If you count the cast of thousands each with their own things to say well you get the point. Thankfully Duvall who is the only good thing about the movie gets to keep the talking to a minimum.
If you want to see a Civil War melodrama at its best where watching the heroes race through a sacked city makes you hold your breath and witnessing horrific hospital scenes makes you squirm then watch Gone With the Wind. If you want gut-wrenching Civil War battles or more understanding of how slaves truly felt then watch Glory. If you want a heartening history lesson about the Civil War that not only teaches you about the era's political machinations but also shares the insights and thoughts of the men and women who experienced it then watch Ken Burns' documentary series The Civil War. Gods and Generals offers none of that in its dry textbook version of the Civil War which uses the same shots are used over and over again (how many times does the camera pan up to the night sky or show the panoramic view of Fredericksburg Virginia? I lost count) features more actors waxing prophetic than real drama and actually makes you yawn during what should be intense battle scenes.
Even if the some of the images are redone the story remains true to form--and fits surprisingly well in this savvy 21st century. As it goes an alien botanist visiting Earth to collect some vegetation gets stranded when his space friends have to make a hasty exit before getting caught by the big bad American scientists lead by "Keys" (Peter Coyote known as such because of the keys jangling from his belt). E.T. ends up befriending an 11-year-old boy Elliot (Henry Thomas) and his siblings older brother Michael (Robert MacNaughton) and little sister Gertie (Drew Barrymore) and discovers such earthly pleasures as beer TV and Reese's Pieces. Yet as much fun as he's having all E.T. really wants to do is go home and soon it becomes a matter of life or death for the little alien to get there as quickly as he can. Elliot who has now bonded with his new friend tries as hard as he can to help E.T. get home before its too late--and before Keys and his group get hold of him.
Seeing the young actors on the big screen again especially Thomas and Barrymore and knowing how they've grown up makes the film that much more fun to watch. When the film came out in 1982 Thomas was a true find. His Elliot was full of energy and had a fresh unassuming quality which inspired many young actors after him (i.e. Haley Joel Osment). Interestingly in his adult career Thomas has laid low with subdued roles in such fare as the HBO movie Indictment: The McMartin Trial. Although he is a talented indie actor he has veered away from that excitable little boy we remember. Of course we all know how Ms. Barrymore turned out becoming one of Hollywood's leading actresses--but as Gertie Barrymore was unbelievably adorable with just a hint of how precocious she actually was. The rest of the cast did their jobs just as admirably especially Dee Wallace Stone as Elliot's mom who as a single mom wounded by a divorce still managed to make dinner wipe tears and understand how her son could become attached to an alien.
Why mess with a classic? Well if you're a perfectionist like director Steven Spielberg you want to make the 20th anniversary of one of your most beloved films to be the best that it can be. Honestly when watching the film again it's hard to pinpoint where the changes were made since they blend seamlessly with the rest of the film. Apparently 140 shots were reworked E.T. got a more friendly makeover and a few never-before-seen scenes were added in (like the great scene where E.T. falls into a bathtub of water). True E.T. looks even more lifelike and you can tell the spaceship had a few more bells and whistles on it but it doesn't really matter. The film is a pure gem proving once again what an incredible visionary Spielberg truly is.
January 31, 2002 5:51am EST
A group of high school seniors put a boy who is eager to become part of their clique through a cruel initiation prank that involves jumping off some sort of high scaffolding into a cloudy pool at a local cement factory. When one of them Landon (Shane West) gets caught the principal decides Landon needs to hang with a different crowd and assigns him to tutor kids on the weekend and take part in the drama club's spring play. Surprise-the plan works! In over his head with the play Landon seeks help from Jamie (Mandy Moore) a dowdy bible-thumper who apparently only owns one ratty cardigan. Jamie however is not your run-of-the-mill unpopular girl. Rather than being introverted and weird she is smart witty and confident-in fact that grubby sweater of hers seems to be the only thing branding her as an outcast. The two grow closer and Landon eventually sees her inner beauty forgoing his own A-list status to be with her. But Landon learns that Jamie has been keeping a secret from him that inevitably blocks their path to happiness.
Moore the underdog of the teen pop stars dyes her hair brown and dulls herself down for the role of Jamie a simple girl that loves to gaze at the stars in her spare time. She did a great job transforming herself into her character but in the process extinguished most of what makes her sparkle on screen. Mind you the script might be to blame for creating a character so unbelievably mundane and one-dimensional. Under all of Jamie's goodness and perfection is well nothing. West does a great job portraying his character transformation. Even while Landon runs with the bad crowd West conveys a sense of humility in the character. Peter Coyote plays Reverend Sullivan Jamie's over-protective father without being too overbearing which is refreshing. An almost unrecognizable and weathered Daryl Hannah has a small but convincing enough role as Landon's mother. Maybe it was her now-brunette hair but I didn't realize it was Hannah until I saw the credits.
In A Walk to Remember director Adam Shankman steered away from being overly sentimental. The relationship that develops between the teens is actually very sweet and interestingly enough the film ends up being more about Landon's transformation than about Jamie's faith. While the film is not as flaky as the rash of recent teen movies it still manages to fall into the same clichés. Though the story is very-dare I say-poignant characters like Jamie's in trying to be different have become a stereotype: The plain Jane whose personality and convictions win over the popular guy. Remember Andie (Molly Ringwald) in Pretty in Pink? Or more recently Laney (Rachael Leigh Cook) in She's All That? And though Moore has a beautiful melodic voice her singing scenes are too drawn out. We are not just treated to her crooning a chorus or two of a song during a church scene but the songs in their entirety. Even Mariah Carey spared us that much in Glitter.