British actor Timothy Spall's expected march to a Best Actor Oscar has begun after the Harry Potter star picked up a top award at the Cannes International Film Festival on Saturday (24May14). Spall was feted with the Best Actor prize for his acclaimed performance as artist J.M.W Turner in director Mike Leigh's Mr. Turner.
Accepting his prize, the overcome star told the Cannes audience, "I've always been the bridesmaid, it's nice to be the bride."
Meanwhile, the festival's top prize, the Palme d'Or for best film was awarded to Nuri Bilge Ceylan for Winter's Sleep.
The Turkish director has become a regular winner at Cannes; he has also picked up honours in past years for Uzak, Three Monkeys and Once Upon a Time in Anatolia, but he becomes only the second Turk to pick up the Palme d'Or.
Julianne Moore was also a big winner on Saturday evening (24May14) - she claimed the festival's Best Actress award for her role in David Cronenberg's Maps to the Stars; and Moneyball director Bennett Miller picked up the Best Director prize for his new film Foxcatcher, which is based on a real-life U.S. wrestling drama. The film is an early favourite for a Best Picture Oscar.
The full list of Cannes Film Festival main prize winners is:
Palme d'Or - Nuri Bilge Ceylan for (Winter's Sleep)
The Grand Prix - The Wonders
Best Director - Bennett Miller (Foxcatcher)
The Jury prize - Xavier Dolan's Mommy and Jean-Luc Godard's Goodbye to Language
Best Screenplay - Andrei Zvyagintsev (Leviathan)
Best Actress - Julianne Moore (Maps to the Stars)
Best Actor - Timothy Spall (Mr. Turner)
Camera d'Or - Party Girl
Jazz musician Dave Brubeck, perhaps best known for his hit "Take Five", died on Wednesday morning at the age of 91, the Associated Press reports. Brubeck passed away from heart failure, just days before what would have been his 92nd birthday. He leaves behind his wife Lola Brubeck and their children. (He had one daughter and five sons.)
The Grammy-nominated pianist had an illustrious career that spanned decades. He formed The Dave Brubeck Quartet in 1951, which released five top ten albums, including the classic 1959 album done in 5/4 time, Time Out. The record featured the hit "Blue Rondo a la Turk" and was the first jazz LP to sell a million copies.
Among his many accolades, Brubeck (who, before becoming a legendary musician, served under General George S. Patton in Europe) received a Lifetime Achievement Award from The Recording Academy in 1996 and in 2009 he was a recipient of the Kennedy Center Honors.
Brubeck's influence was not only felt in the jazz world. Brubeck, who appeared in Ken Burns' Jazz miniseries, also wrote music for ballets, operas, and the late 80s television special This is America, Charlie Brown. He once performed for a dinner held by Ronald Reagan in 1988 in Moscow, which was attended by Mikhail Gorbachev. Brubeck said of the experience, "I can't understand Russian, but I can understand body language."
In a statement to Grammy.com regarding Brubeck (who they call "one of the most significant acts of the West Coast jazz movement") Recording Academy President/CEO Neil Portnow said, "David Brubeck was an iconic jazz and classical pianist. His recordings have received both commercial and critical success, and will be remembered and celebrated for generations to come. We have lost a great legend in our community, and our thoughts and condolences go to his family, friends and all those he inspired."
[Photo credit: WENN.com]
Nora Ephron, Writer and Director, Dies of Cancer
Kate Middleton Is Pregnant, Hospitalized for Morning Sickness, Palace Rep Says
Mario Lopez Marries Longtime Love Courtney Mazza in Mexico
From Our Partners:
Harry Styles Spotted Outside Taylor Swift’s Hotel Room The Morning After Their Date Night (PHOTOS)
Fall Bikini Bodies: The Good, The Great, The OMG (GALLERY)
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Hey, remember at the end of Will & Grace when their two kids met in college and fell in love? And in Scrubs where J.D. and Turk’s kids met in college and fell in love? Yeah, they’re making a movie about that only with Jason Bateman and Vince Vaughn. Is there a pun in the title? Oh, you know there is a pun in the title.
The Insane Laws will the directing debut for writer Jeremy Garelick who co-wrote Vaughn’s The Break-Up. As you can probably already guess, Vaughn and Bateman will play two best friends who do everything together up to having children at the same time. Smash cut time jump forward and what do you know, those kids are at college, meet, hook up, and then wham-bam-whoops-forgot-a-condom-thank-you-ma’am Vaughn’s daughter gets pregnant. Will their bond of friendship be able to withstand the burden of in-law-dom? Will they make up in the end? Why does Jason Bateman only do movies where he’s paired with someone else?
Production may begin this fall and if the trailer doesn’t have the title card flying in to a screeching stop I’ll eat ironic graphic tee.
Boy does Ayer have it in for crooked cops. He’s on a one-man crusade to rid Los Angeles of anyone on the job who happens to be on the take. Heck he’s even willing to ferret out aspiring police officers whom he believes would only bring shame to the L.A.P.D. as shown by his directorial debut Harsh Times. Indeed Keanu Reeves’ maverick cop Tom Ludlow is much like Harsh Times’ whacked-out Jim Davis--had he been accepted into the L.A.P.D. and later made detective. Ludlow’s not corrupt but he’s happy to shoot first and then plant evidence to make things look like they were done by the book. And he does it with the blessing of his boss Capt. Jack Wander (Forest Whitaker). Wander’s got Ludlow’s back because he’s got dirt on anyone who’s anyone. But now Ludlow’s ex-partner Terrence Washington (Terry Crew) is babbling to Internal Affairs’ Capt. James Biggs (Hugh Laurie) about all the bad stuff he did with Ludlow. By sheer coincidence Washington’s executed by masked gunmen right before Ludlow’s eyes. Evidence suggests that Washington was selling drugs and that he paid the price for double-crossing some dealers. Ludlow buys into this--at least until he and Det. Paul Diskant (Chris Evans) realize nothing is what it seems. Oh really? Sorry but even after Speed and The Matrix series it’s hard to accept the slacker formerly known as Ted “Theodore” Logan as a badass. As Ludlow Reeves doesn’t come close to capturing Dirty Harry’s spare-no-mercy swagger or conveying Frank Serpico’s unwavering belief in bringing down dirty cops. So Ludlow’s nothing more than your typical booze-filled race-baiting cop who has no qualms about breaking the law to enforce the law. Twenty years ago Reeves would had played young turk Diskant. Now it’s the turn of a student of Reeves’ “Whoa!” School of Acting. To be fair Evans shows some emotional range. The one-two punch of Sunshine and Street Kings indicates Evans is making headway in improving as an actor. He also brings more attitude to the illicit goings-on than Reeves does. Whitaker however may have mistaken Street Kings for a sequel to The Last King of Scotland. He storms through crime scenes gesturing wildly and barking orders with all the imperial pomposity of Idi Amin. At least he’s having fun. Same goes for Laurie whose testy “rat squad” bigwig is merely Dr. Gregory House with a gun and badge. John Corbett and Jay Mohr inexplicably try to pass themselves off as hard-as-nails cops right out of The Shield but fail hilariously. Street Kings--a term describing the cops who consider L.A. their personal fiefdom--is a great disappointment after Harsh Times. Ayer showed great ambition with that grim character study even if it felt at times like a civilian version of Training Day. With Street Kings Ayer and crime novelist James Ellroy--who previously collaborated together on Dark Blue’s script--seem content to rest on their laurels. Ludlow’s investigation takes him where you expect it to take him ensuring the big reveal at the end hardly comes as a shock. The characters never surprise you. If you suspect someone’s corrupt he’s indeed corrupt. And the dialogue? It’s an ear-grating mix of police jargon street drug slang and tough-guy BS. That said Ayer keeps things rolling at a brake-neck pace as he turns L.A. into his own personal war zone. The bullets fly fast and the bodies drop even quicker. He so draws you into this fascinating world that you can’t help root for Ludlow--a man of very little moral fiber--to dispense with all the human garbage who stand between him and the truth. Street Kings affirms that Ayer has his finger on the pulse of L.A.’s mean streets. He knows how the minds of the city’s cops clean and dirty and the gangbangers work. But after Dark Blue Training Day Harsh Times and Street Kings what is there left for Ayer to say about a good cop gone bad?