One of the best parts of any awards shows is seeing the reactions of the different nominees. How do the winners handle being honored for their work? Do they walk on stage a complete blubbering mess, or do they stride up to the front of the room with bravado and give a fantastic speech? How do the losing nominees handle seeing that golden statue ripped from their grasp? When there are hundreds of cameras trained on their every facial twitch, there are bound to be some pretty great reaction shots. Here are our top 10 faces and reactions from Emmy winners, losers, and presenters.
Vanessa Williams is cool. I mean, she's just way too cool to be joking around at an award show when she's about to get an Emmy. She's a diva, people! So when Amy Poehler and company devised the goofy gag of wearing various pieces of eyewear while the nominees were being announced, Williams tastefully declined with a look that's a combination of "Hell no am I getting involved with this l foolishness!" and "Where's my Emmy?" while shaking her head dismissively at the camera. She ended up losing to Kristin Chenoweth (at least she went home without wearing an eye patch).
Speaking of Chenoweth, her scrunched up face and acceptance speech after her win for Pushing Daisies was simply adorable. Her pixie-like excitement and crocodile tears are just to much to bear. Lines like "I'm unemployed now, so I would like to be on Mad Men" just make the clip even better.
Okay so this moment wasn't at the actual awards show, but it's close enough. If you have a pulse, and you've watched at least five minutes of any given episode of Breaking Bad, then you already love Aaron Paul and his character Jesse Pinkman. But someone as likeable as Paul can surprise you time and time again. During the announcement ceremony for the 2013 Emmys, when Paul learned that he has secured yet another Emmy nomination (8:44 in the video), his face contorted into such childlike glee that his excitement is infectious. The fact that he can get so excited over an award he already has won twice before is very endearing.
In her Emmy win in 2007 for Brothers and Sisters, Sally Fields launched into a tribute to mothers around the globe. With a face full of conviction and passion, she speaks out against war and says the controversial line, "Let's face it. If the mothers ruled the world, there would be no goddamned war in the first place!”
Let me give you a little backstory first. Ricky Gervais and Steve Carell have had a bit of a rivalry ever since Carell hilariously "stole" Gervais' Emmy the year before. Now cut to 2008, when Gervais demanded his Emmy back and began to tear into Carell with jokes. Even while everyone else in the theater, including Carell's wife, was collapsing back into their chairs with giggle fits, Carell retained his stony visage, never breaking. He could probably withstand the harshest of tortures. Eventually he relinquished the Emmy, but only after fierce comical prodding by Gervais.
After proving to be a comedy workhouse on Malcom in the Middle for six years, it seemed Bryan Cranston would never get the recognition he deserves by the Emmys. Just how many scenes of a man prancing in his underwear does it take to get an Emmy these days anyway? Luckily, Cranston continued taking off his pants in his next show Breaking Bad, enough times, in fact, to finally secure him the Emmy. When he does win, Cranston's look of surprise and graditude is heartwarming.
When Greg Garcia won an Emmy for his hilarious sitcom My Name Is Earl, he used his short time on stage to its fullest, and gave a triumphant up-yours to everyone who ever doubted him, insulted his intelligence, or made him scrape gum off their shoes throughout his rise to sitcom greatness. Even God almighty doesn't escape his comedic wrath.
It's nice to see an actress with as much award recognition as Kate Winslet get so excited about winning an award, as she didwhen she won for her performance in Mildred Pierce. When Winslet heard her name, she jumped up and down and sported a face full of genuine excitement.
Winning an Emmy would be a massive achievement for some people, but Andy Samberg looked like he was confused as to why he was even invited to the ceremony at all. When Samberg and The Lonely Island Crew won an Emmy for "Dick in a Box," he put on his best grin and went on to poke fun at the entire award show with hefty amounts of sarcasm that probably just rubbed salt in the wounds of people who actually really wanted win.
Having to watch Jon Stewart win the Emmy for Best Variety Show year after year must be tough, and in 2012, Jimmy Fallon and Stephen Colbert finally hit their breaking point. The two hosts tackled Stewart and tried their best to stop him from reaching the stage in a funny bit of physical comedy. When Stewart finally reached the stage to accept his golden prize, he looked like he just ran a marathon in a tuxedo. His face was visibly winded when he said (at 1:19 in the video), "I'm not in the kind of shape I should be in to do a bit with Jimmy Fallon."
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British synth-pop act Orchestral Manoeuvres In The Dark have cancelled the remainder of their 2013 tour after drummer Malcolm Holmes was hospitalised last week (ends21Jul13). The musician was taken ill with heat exhaustion during the band's show in Toronto, Canada on Friday (19Jul13) and transported to a local medical facility for treatment, prompting the eighties group to cancel all of their upcoming concerts, including a set at Britain's Rewind Festival next month (Aug13).
In a post on the band's Facebook.com page on Saturday (20Jul13), bandmates Andy McCluskey and Paul Humphreys wrote, "We are sorry to inform you that Malcolm was taken ill during last nights show in Toronto. He's currently being treated for heat exhaustion in hospital but is recovering well.
"Sadly however we have to cancel the remaining shows of the year (including Rewind festival). Please accept our sincere apologies, we really appreciate your understanding at this very difficult time."
In an update, they added, "We've been to see Malcom and we're delighted to say he's doing well and hopes to fly home on Tuesday. thank you for your kind messages and support."
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.
The first and most important thing you should know about Paramount Pictures’ Thor is that it’s not a laughably corny comic book adaptation. Though you might find it hokey to hear a bunch of muscled heroes talk like British royalty while walking around the American Southwest in LARP garb director Kenneth Branagh has condensed vast Marvel mythology to make an accessible straightforward fantasy epic. Like most films of its ilk I’ve got some issues with its internal logic aesthetic and dialogue but the flaws didn’t keep me from having fun with this extra dimensional adventure.
Taking notes from fellow Avenger Iron Man the story begins with an enthralling event that takes place in a remote desert but quickly jumps back in time to tell the prologue which introduces the audience to the shining kingdom of Asgard and its various champions. Thor (Chris Hemsworth) son of Odin is heir to the throne but is an arrogant overeager and ill-tempered rogue whose aggressive antics threaten a shaky truce between his people and the frost giants of Jotunheim one of the universe’s many realms. Odin (played with aristocratic boldness by Anthony Hopkins) enraged by his son’s blatant disregard of his orders to forgo an assault on their enemies after they attempt to reclaim a powerful artifact banishes the boy to a life among the mortals of Earth leaving Asgard defenseless against the treachery of Loki his mischievous “other son” who’s always felt inferior to Thor. Powerless and confused the disgraced Prince finds unlikely allies in a trio of scientists (Natalie Portman Stellan Skarsgard and Kat Dennings) who help him reclaim his former glory and defend our world from total destruction.
Individually the make-up visual effects CGI production design and art direction are all wondrous to behold but when fused together to create larger-than-life set pieces and action sequences the collaborative result is often unharmonious. I’m not knocking the 3D presentation; unlike 2010’s genre counterpart Clash of the Titans the filmmakers had plenty of time to perfect the third dimension and there are only a few moments that make the decision to convert look like it was a bad one. It’s the unavoidable overload of visual trickery that’s to blame for the frost giants’ icy weaponized constructs and other hybrids of the production looking noticeably artificial. Though there’s some imagery to nitpick the same can’t be said of Thor’s thunderous sound design which is amped with enough wattage to power The Avengers’ headquarters for a century.
Chock full of nods to the comics the screenplay is both a strength and weakness for the film. The story is well sequenced giving the audience enough time between action scenes to grasp the characters motivations and the plot but there are tangential narrative threads that disrupt the focus of the film. Chief amongst them is the frost giants’ fore mentioned relic which is given lots of attention in the first act but has little effect on the outcome. In addition I felt that S.H.I.E.L.D. was nearly irrelevant this time around; other than introducing Jeremy Renner’s Hawkeye the secret security faction just gets in the way of the movie’s momentum.
While most of the comedy crashes and burns there are a few laughs to be found in the film. Most come from star Hemsworth’s charismatic portrayal of the God of Thunder. He plays up the stranger-in-a-strange-land aspect of the story with his cavalier but charming attitude and by breaking all rules of diner etiquette in a particularly funny scene with the scientists whose respective roles as love interest (Portman) friendly father figure (Skarsgaard) and POV character (Dennings) are ripped right out of a screenwriters handbook.
Though he handles the humorous moments without a problem Hemsworth struggles with some of the more dramatic scenes in the movie; the result of over-acting and too much time spent on the Australian soap opera Home and Away. Luckily he’s surrounded by a stellar supporting cast that fills the void. Most impressive is Tom Hiddleston who gives a truly humanistic performance as the jealous Loki. His arc steeped in Shakespearean tragedy (like Thor’s) drums up genuine sympathy that one rarely has for a comic book movie villain.
My grievances with the technical aspects of the production aside Branagh has succeeded in further exploring the Marvel Universe with a film that works both as a standalone superhero flick and as the next chapter in the story of The Avengers. Thor is very much a comic book film and doesn’t hide from the reputation that its predecessors have given the sub-genre or the tropes that define it. Balanced pretty evenly between “serious” and “silly ” its scope is large enough to please fans well versed in the source material but its tone is light enough to make it a mainstream hit.