Jonah Hill poked fun at an ex-girlfriend while picking up GQ magazine's International Man of the Year honour in London on Tuesday night (02Sep14).
The Wolf of Wall Street star took aim at his sixth grade love while accepting the style trophy from Bradley Cooper. Hill said, "Emily, my first girlfriend... You broke my heart and left it shattered. It was really sad. I know you were young and love is wild and you grow apart, but I'm GQ International Man of the f**king Year!"
The twice Oscar-nominated star joined Colin Firth, Liam Neeson, Pharrell Williams, Van Morrison, New Order, new Doctor Who Peter Capaldi, racing driver Lewis Hamilton and Paulo Nutini among the big style winners, while Johnny Depp presented punk veteran Iggy Pop with GQ's Icon Award at the Royal Opera House.
And the women weren't left out - Kim Kardashian West, who was joined on the red carpet by her husband Kanye West, picked up the Woman of the Year prize and stunned in a custom-designed haute couture Ralph & Russo gown. Reminding the world her full name is now Kim Kardashian West, the reality TV star said, "I want to thank GQ for making me Woman of the Year, and my husband for making me feel like woman of the year every day."
Among those handing over the top prizes at the ceremony Lindsay Lohan, Bradley Cooper, Gerard Butler, Rita Ora, Cara Delevingne, Daisy Lowe, Bob Geldof, Pippa Middleton and author E.L. James, who presented her Fifty Shades of Grey star Jamie Dornan with a Breakthrough Award.
The full list of GQ Men of the Year Award winners is:
Comedian of the Year: John Bishop
Editor’s Special Award: Liam Neeson
Chef of the Year: Tom Kerridge
Designer of the Year: Christopher Bailey
International Man of the Year: Jonah Hill
Writer of the Year: Michael Lewis
Philanthropist of the Year: Tony Blair
Breakthrough Fashion Designers of the Year: Agi and Sam
TV Personality of the Year: Peter Capaldi
Innovator Award: Ewan Venters
Inspiration Award: New Order Hugo Boss
Most Stylish Man: Douglas Booth
Sportsman: Lewis Hamilton
Actor of the Year: Benedict Cumberbatch
Entrepreneur of the Year: Andre Balazs
Special Achievement: Paolo Nutini
Vertu Breakthrough Award: Jamie Dornan
Legend Award: Van Morrison
Solo Artist of the Year: Pharrell Williams
Leading Man of the Year: Colin Firth
Humanitarian of the Year: Ringo Starr
Woman of the Year: Kim Kardashian West
Icon Award: Iggy Pop
Lions Gate via Everett Collection
When we last left our heroes, they had conquered all opponents in the 74th Annual Hunger Games, returned home to their newly refurbished living quarters in District 12, and fallen haplessly to the cannibalism of PTSD. And now we're back! Hitching our wagons once again to laconic Katniss Everdeen and her sweet-natured, just-for-the-camera boyfriend Peeta Mellark as they gear up for a second go at the Capitol's killing fields.
But hold your horses — there's a good hour and a half before we step back into the arena. However, the time spent with Katniss and Peeta before the announcement that they'll be competing again for the ceremonial Quarter Quell does not drag. In fact, it's got some of the film franchise's most interesting commentary about celebrity, reality television, and the media so far, well outweighing the merit of The Hunger Games' satire on the subject matter by having Katniss struggle with her responsibilities as Panem's idol. Does she abide by the command of status quo, delighting in the public's applause for her and keeping them complacently saturated with her smiles and curtsies? Or does Katniss hold three fingers high in opposition to the machine into which she has been thrown? It's a quarrel that the real Jennifer Lawrence would handle with a castigation of the media and a joke about sandwiches, or something... but her stakes are, admittedly, much lower. Harvey Weinstein isn't threatening to kill her secret boyfriend.
Through this chapter, Katniss also grapples with a more personal warfare: her devotion to Gale (despite her inability to commit to the idea of love) and her family, her complicated, moralistic affection for Peeta, her remorse over losing Rue, and her agonizing desire to flee the eye of the public and the Capitol. Oftentimes, Katniss' depression and guilty conscience transcends the bounds of sappy. Her soap opera scenes with a soot-covered Gale really push the limits, saved if only by the undeniable grace and charisma of star Lawrence at every step along the way of this film. So it's sappy, but never too sappy.
In fact, Catching Fire is a masterpiece of pushing limits as far as they'll extend before the point of diminishing returns. Director Francis Lawrence maintains an ambiance that lends to emotional investment but never imposes too much realism as to drip into territories of grit. All of Catching Fire lives in a dreamlike state, a stark contrast to Hunger Games' guttural, grimacing quality that robbed it of the life force Suzanne Collins pumped into her first novel.
Once we get to the thunderdome, our engines are effectively revved for the "fun part." Katniss, Peeta, and their array of allies and enemies traverse a nightmare course that seems perfectly suited for a videogame spin-off. At this point, we've spent just enough time with the secondary characters to grow a bit fond of them — deliberately obnoxious Finnick, jarringly provocative Johanna, offbeat geeks Beedee and Wiress — but not quite enough to dissolve the mystery surrounding any of them or their true intentions (which become more and more enigmatic as the film progresses). We only need adhere to Katniss and Peeta once tossed in the pit of doom that is the 75th Hunger Games arena, but finding real characters in the other tributes makes for a far more fun round of extreme manhunt.
But Catching Fire doesn't vie for anything particularly grand. It entertains and engages, having fun with and anchoring weight to its characters and circumstances, but stays within the expected confines of what a Hunger Games movie can be. It's a good one, but without shooting for succinctly interesting or surprising work with Katniss and her relationships or taking a stab at anything but the obvious in terms of sending up the militant tyrannical autocracy, it never even closes in on the possibility of being a great one.
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