The Oscar nominations came out on Thursday morning, and as of now, it's anybody's race. Some say 12 Years a Slave has it in the bag, while others think American Hustle will snatch the Best Picture trophy. There's no one way to know for sure — does the Academy weigh emotional impact? Flashy performances? The film's lasting message?
How about titles? Yes, you can tell a lot about a film by its title, and about its Oscar chances, too. We've compiled some handy data about each Best Picture nominee's title and what it says about the film's chances come time to hand out the awards. (You can also head over to BBC America to check out this fantastic infographic that predicts the Best Picture winner!)
Movies with the word "America" in their titles......to win a Best Picture Oscar: 2 (An American in Paris; American Beauty) ...to get nominated for BP, but not win: 2 (America, America; American Graffiti)
Movies whose titles refers to a crime or act of duplicity......to win a Best Picture Oscar: 2 (Mutiny on the Bounty; The Sting)...to get nominated for BP, but not win: 11 (The Racket; She Done Him Wrong; Imitation of Life; Libeled Lady; Grand Illusion; The Caine Mutiny; The Hustler; Mutiny on the Bounty; The Killing Fields; The Fugitive; Traffic)
Columbia Pictures via Everett Collection
Movies with a main character's surname in their titles......to win a Best Picture Oscar: 10 (The Great Ziegfeld; Ben-Hur; Tom Jones; Patton; Annie Hall; Kramer vs. Kramer; Gandhi; Schindler’s List; Forrest Gump; Shakespeare in Love)...to get nominated for BP, but not win: 45 (Disraeli; Trader Horn; Arrowsmith; The House of Rothschild; Alice Adams; Captain Blood; David Copperfield; Ruggles of Red Gap; Anthony Adverse; Dodsworth; Mr. Deeds Goes to Town; The Story of Louis Pasteur; The Life of Emile Zola; The Adventures of Robin Hood; Goodbye, Mr. Chips; Mr. Smith Goes to Washington; Kitty Foyle; Citizen Kane; Here Comes Mr. Jordan; Sergeant York; Mrs. Miniver; The Magnificent Ambersons; Madame Curie; Wilson; Mildred Pierce; Johnny Belinda; Julius Caesar; Mister Roberts; The Diary of Anne Frank; Elmer Gantry; Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb; Mary Poppins; Doctor Zhivago; Who’s Afraid of Virginia Woolf?; Doctor Dolittle; Butch Cassidy and the Sundance Kid; Barry Lyndon; Prizzi’s Honor; Jerry Maguire; Good Will Hunting; Saving Private Ryan; Erin Brokovich; Capote; Michael Clayton; Lincoln)
Movies whose titles include a military rank......to win a Best Picture Oscar: o...to get nominated for BP, but not win: 6 (The Smiling Lieutenant; Captain Blood; Captains Courageous; Sergeant York; Saving Private Ryan; Master and Commander: The Far Side of the World)
DALLAS BUYERS CLUB
Focus Features via Everett Collection
Movies with a city name in their titles......to win a Best Picture Oscar: 4 (Cimarron; Casablanca; An American in Paris; Chicago)...to get nominated for BP, but not win: 18 (Hollywood Revue; Shanghai Express; San Francisco; In Old Chicago; The Philadelphia Story; Mr. Smith Goes to Washington; Casablanca; Roman Holiday; Peyton Place; Judgment and Nuremberg; Chinatown; Nashville; Fargo; L.A. Confidential; Gangs of New York; Munich; Letters from Iwo Jima; Midnight in Paris)
Movies whose titles seem like they should probably have a possessive apostrophe, but don't......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Boys Town; Kings Row; Dead Poets Society; Howards End)
Warner Bros via Everett Collection
Movies whose titles are a single intangible noun......to win a Best Picture Oscar: 1 (Crash)...to get nominated for BP, but not win: 8 (Alibi; Suspicion; Crossfire; Deliverance; Traffic; Atonement; Inception; Moneyball)
Movies whose titles end in "ity"......to win a Best Picture Oscar: 1 (From Here to Eternity)...to get nominated for BP, but not win: 3 (Double Indemnity; Atlantic City; Sense and Sensibility)
Warner Bros via Everett Collection
Movies whose titles are made up three letters or fewer......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 4 (Z; JFK; Ray; Up)
Movies that have the word "her" in their titles......to win a Best Picture Oscar: 1 (Ben-Hur)...to get nominated for BP, but not win: 1 (Hannah and Her Sisters)
Paramount via Everett Collection
Movies with U.S. state names in their titles......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 2 (In Old Arizona; Mississippi Burning) *Note: Mr. Smith Goes to Washington and Gangs of New York both refer to cities, not states, and the "Virginia" in Who's Afraid of Virginia Woolf is a human woman.
We loved Nebraska, but this is really the only one we could think of for it. Sorry, Alexander Payne. Sorry, everybody.
Weinstein Company via Everett Collection
Movies whose titles are just a main character's first name......to win a Best Picture Oscar: 5 (Rebecca; Hamlet; Marty; Gigi; Oliver!)...to get nominated for BP, but not win: 20 (Skippy; Cleopatra; Ivanhoe; Shane; Fanny; Cleopatra; Alfie; Lenny; Rocky; Julia; Norma Rae; Tess; Bugsy; Babe; Elizabeth; Seabiscuit; Ray; Juno; Precious; Hugo)
Movies whose titles were mispronounced by Leonardo DiCaprio on live television......to win a Best Picture Oscar: 0...to get nominated for BP, but not win: 0 (There can be only one Philomania.)
12 YEARS A SLAVE
Movies with numbers in their titles......to win a Best Picture Oscar: 6 (It Happened One Night; Around the World in 80 Days; The Godfather Part II; One Flew Over the Cuckoo’s Nest; Million Dollar Baby; Slumdog Millionaire)...to get nominated for BP, but not win: 36 (Seventh Heaven; Five Star Final; One Hour with You; 42nd Street; The Private Life of Henry VIII; One Night of Love; Broadway Melody of 1936; A Tale of Two Cities; Three Smart Girls; One Hundred Men and a Girl; Four Daughters; One Foot in Heaven; 49th Parallel; Henry V; Miracle on 34th Street; A Letter to Three Wives; Twelve O’Clock High; Seven Brides for Seven Brothers; Three Coins in the Fountain; The Ten Commandments; 12 Angry Men; The Defiant Ones; A Thousand Clowns; Anne of the Thousand Days; Five Easy Pieces; Born on the Fourth of July; The Godfather Part III; Four Weddings and a Funeral; Apollo 13; The Sixth Sense; The Lord of the Rings: The Two Towers; District 9; 127 Hours; Toy Story 3; Zero Dark Thirty)
Movies that refer to a unit of time in their titles......to win a Best Picture Oscar: 2 (The Best Years of Our Lives; Around the World in 80 Days) ...to get nominated for BP, but not win: 9 (One Hour with You; Lady for a Day; The Yearling; The Longest Day; Anne of the Thousand Days; Dog Day Afternoon; Remains of the Day; The Hours; 127 Hours)
THE WOLF OF WALL STREET
Paramount via Everett Collection
Movies whose titles include mention of an animal......to win a Best Picture Oscar: 3 (The Deer Hunter; Dances with Wolves; The Silence of the Lambs)...to get nominated for BP, but not win: 17 (Of Mice and Men; The Little Foxes; The Maltese Falcon; The Ox-Bow Incident; The Snake Pit; Cat on a Hot Tin Roof; To Kill a Mockingbird; The Lion in Winter; One Flew Over the Cuckoo’s Nest; Dog Day Afternoon; The Elephant Man; Raging Bull; Kiss of the Spider Woman; Crouching Tiger, Hidden Dragon; Black Swan; War Horse)
Movies whose titles include the name of a street......to win a Best Picture Oscar: 1 (The Broadway Melody) ...to get nominated for BP, but not win: 5 (42nd Street; The Barretts of Wimpole Street; Broadway Melody of 1936; Miracle on 34th Street; Sunset Boulevard)
Cast your bets, folks. Captain Phillips looks like it has this one locked down.
*Special thanks to Hollywood.com writers Julia Emmanuele and Jordan Smith for helping to compile data and entertaining the madness of this post, and to our CTO Greg Zimerman for recovering hours of work after my Word Doc crashed. You're a hero, Greg.
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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.
Starting this Friday, Julianne Hough can be seen opposite Kenny Wormald in the Footloose remake. You can also find her on billboards, on iTunes, in commercials for ProActive, and on the arm of Ryan Seacrest. But the world hasn’t always been this full of Julianne Hough -- in fact, there was once a time (long before ago) when Hough was just another girl in a suburb of Salt Lake City who liked to dance.
Hough was born in July of 1988 to Mari Ann Heaton and Bruce Hough, the chairman of the Utah Republican Party (who, incidentally, met when they were both on their Idaho college’s ballroom dancing team). She was the fifth and final child of the family, and she officially began entering in dance competitions when she was 9. But then when she was 10, Hough's parents realized they wanted to divorce so they sent her and her older brother Derek (also a dancer from Dancing with the Stars) to London so they could continue studying with their coaches (Corky and Shirley Ballas) without witnessing the unpleasantries of their parents' separation. Once there, the Houghs (along with the Ballas’ son Mark, who also is a pro on Dancing with the Stars) enrolled in school at the Italia Conti Academy, where they learned about singing, theatre, gymnastics, and of course, dance. When she was 13, Julianne and Derek and Mark took the skills they’d acquired at school and formed the pop music group 2B1G (which adorably stood for “2 boys, 1 girl”) and went on to perform at several dance competitions in both the U.S. and the U.K. By the time she was 15, she was the youngest person ever to be named both the Junior Latin World Champion and the International Latin Youth Champion at the Blackpool Dance Festival (which is the world’s first and most famous ballroom dance competition that has been held in Blackpool, England since 1920). Upon returning to the states when she was 15 and after she finished high school in both Las Vegas and Utah, Hough then moved to Los Angeles to jumpstart her career in entertainment.
But she wasn’t immediately cast on Dancing with the Stars. It was only after starring in some television commercials that she was cast to be a dancer on Show Me The Money, which was a William Shatner-hosted game show featuring 13 dancers holding scrolls (it was not very much different than today’s Deal Or No Deal). And while Show Me The Money was a rather short-lived program, Julianne took the credential and used it to get a spot as a company dancer on the Dancing with the Stars tour. She was eventually promoted and joined the show’s main cast in time for its fourth season, which premiered on March 19th, 2007. She was partnered with Olympic Gold Medalist Apolo Anton Ohno and the two of them went on to beat Laila Ali and Joe Fatone and receive the famed Mirror Ball Trophy. In the premiere of the show’s fifth season on September 24th, 2007 Hough was partnered with Indy racecar driver Helio Castroneves, and together they earned Hough her second Mirror Ball Trophy of the year. After the show’s seventh season ended in November of 2008, Hough stated on Ryan Seacrest's radio show she was planning to leave Dancing with the Stars so she could pursue a career in country music, although she ultimately continued dancing through the show's eighth season. But Hough’s participation on DWTS led to much more than just some mantle decor – in 2008 and in 2009 she was nominated for Emmys in the Outstanding Choreography category.
Even though Hough was only known for her dancing for the majority of 2007, she was privately planning to switch into the music industry all along. In May of that year she recorded a song called “Will You Dance With Me” and released it on iTunes to help benefit the American Red Cross. After signing with Universal Music Group Nashville, Hough began collaborating with producer David Malloy to create a self-titled album, which went on to debut in the #1 spot on the Top Country Albums chart on May 28th, 2008. On October 12th, Hough released a Christmas themed EP through Target called Sounds of the Season: The Julianne Hough Holiday Collection, which sold around 250,000 copies. In April of 2009, she won the Top New Artist award at the 44th Annual Academy of Country Music Awards and she recently completed her second studio album with Mercury Nashville, and it is slated to hit stores next year.
Hough’s success both on television and in music meant she was the perfect addition to the cast of 2010’s Burlesque, which starred Christina Aguilera as Ali, the girl from Iowa who became a dancer at a Los Angeles burlesque club owned by a former entertainer named Tess (played by Cher). The movie threaded song and dance into the plot in ways we haven’t really seen since 2006’s Dreamgirls and even though the film failed to turn a profit, Hough’s performance as one of the club’s dancers proved to producers that making movies was not outside her realm of capabilities. Hough was rewarded for Burlesque when she was cast as the female lead in Craig Brewer’s remake of the 1984 hit, Footloose. And while the public remains torn on whether or not the original Footloose even deserved a remake, they all seem to agree that Hough’s interpretation of Ariel is endearing and even earned her comparisons to a younger Jennifer Aniston.
Next up for Hough is Adam Shankman’s highly anticipated film adaptation of the Broadway musical, Rock of Ages, which stars Alec Baldwin, Tom Cruise, Russell Brand and Catherine Zeta-Jones. If successful, her participation in the flick has the capacity to launch her into whichever entertainment stratosphere she wishes to primarily inhabit (that is, of course, if she can ever decide).
Sources: Julianne Hough, Wikipedia, IMDB, CMT, ACM Country, THR
In this third installment however the boys aren’t in the game for the business. No this time it’s personal. When one of their own the irascible Reuben (Elliott Gould) suffers a heart attack after being double-crossed by malevolent hotel mogul Willie Bank (Al Pacino) Danny (George Clooney) Rusty (Brad Pitt) Linus (Matt Damon) and the rest of the gang decide to hit Bank where it hurts. They orchestrate it so not only will they ruin the hotelier financially by turning the tables on the precept that the house always wins but also hurt Bank’s pride by giving his big new Las Vegas hotel a bad rating. The Ocean crew even manages to rope in their old nemesis Terry Benedict (Andy Garcia) on the scam since Benedict can’t stand Bank or the monstrosity he has built on the Strip. The plan is a bit convoluted and seemingly damn near impossible but the moral of the story is this: Mess with an Ocean you get pummeled by the waves. What has always made the Ocean's installments work is the freewheeling spirit and good-ol'-boy camaraderie from its eye-candy cast. Even though they are a bit more somber this time around--you know worried about Reuben and all--the actors are still clearly enjoying themselves. Clooney and Pitt continue to be the suave ringleaders finishing each other’s sentences and commiserating over the problems they are having with their respective spouses/girlfriends--which in turn explains why Tess (Julia Roberts) and Isabel (Catherine Zeta-Jones) aren’t in the movie. Basically this “isn’t their fight ” and they aren’t needed. Actually it’s Damon’s Linus who gets a love interest--sort of. The usually green Linus gets a chance to prove his mettle by donning a disguise (a big fake nose to be exact) and wooing Bank’s second-in-command the tough-as-nails Abigail Sponder as part of the plan. She’s played winningly by Ellen Barkin who fits right into this gentleman’s club. All the others are also in top form proving they could keep making these movies and we’d never get tired of watching them play. At this point in the Ocean's franchise director Steven Soderbergh’s work is pretty much done for him which is a good or bad thing depending on your perspective. The good part (and I’ve said this before) is Soderbergh definitely has one of the keenest eyes in the business and with Ocean's Thirteen he makes you feel like you’re coming home after spending the last movie floundering abroad. The guys are more at ease and the surroundings are comfortably familiar while the massive complicated suspend-your-disbelief undertaking crackles and zings as it's being put into motion. Soderbergh also uses the split-screen technique to great effect. The bad thing is we’ve seen it all before. Ocean's Thirteen doesn’t really offer anything particularly new as far as what we’ve come to expect and there are a few times Soderbergh seems to be phoning it in. But honestly is there anything wrong with that? Not really. Not with this great cast that is aging and gelling like fine wine bringing Sin City to its knees.
Three years since relieving ruthless Las Vegas hotel owner Terry Benedict (Andy Garcia) of a large chunk of cash Danny Ocean (George Clooney) and his crew--including detail man Rusty Ryan (Brad Pitt) and novice pickpocket Linus Caldwell (Matt Damon)--have tried to live modest legit lives. Sure it's hard to go straight but hey at least they got away with the heist of the century. Right? Not quite. Seems a mysterious someone has ratted the gang out to Benedict who demands his $160 million back or else. Strapped of most of their cash and too hot in the United States to pull off a job Ocean and company decide Europe would be the best place to score much to the chagrin of Danny's wife Tess (Julia Roberts). Once in Europe however they find out it isn't as easy as it used to be. They run up against the tough-as-nails Europol agent Isabel Lahiri (Catherine Zeta-Jones) who once had a fling with Rusty and Europe's premier master thief the Night Fox (Vincent Cassel) who seems to be one step ahead of Ocean's crew. Let the games begin.
Ocean's Twelve's crop of A-listers have way too much fun making these movies as they recapture that freewheeling spirit and good-ole-boy camaraderie from Ocean's Eleven. Even though sometimes it seems like they are a bunch of frat boys hazing each other the actors clearly are enjoying themselves tremendously--and so do we. Clooney and Pitt continue to be the suave ringleaders speaking to each other in code while Pitt's Rusty gets the love interest this time around. As Rusty's former flame Zeta-Jones holds her own with the boys but doesn't have nearly the chemistry with Pitt that Roberts and Clooney exude as marrieds Danny and Tess. Actually Roberts almost steals Twelve away from the guys: she gets to show off her comedic abilities in one of the film's most hysterical sequences which involves real-life movie stars and Fabergé eggs. As far as the rest of the gang they all are back and raring to go including Damon who comes off as even more green and eager as Linus and the hilarious bickering Malloy brothers played brilliantly by Scott Caan and Casey Affleck. As for the villains Garcia's Benedict has very little do leaving most of the malevolent posturing and stylish good looks to French actor Cassel (Birthday Girl) as the crafty Night Fox.
With one of the keenest eyes in the business director Steven Soderbergh is a pro at letting audiences experience what seem to be very personal moments in his films. Ocean's Twelve is no exception as we become privy to the locker-room antics of our favorite band of thieves. This makes you as much a part of the boys club as its rowdy stars. Soderbergh describes Twelve as a "movie in which everything goes wrong from the get-go " whereas everything went right in Eleven. This allows for some wonderful comic scenes such as Roberts' escapade and the quick-witted exchanges between the boys. Upon finding out that the gang is now called "Ocean's Eleven" safecracker Frank (Bernie Mac) exclaims "Who decided that? I'm a private contractor!" The film's inherent problems come from George Nolfi's screenplay which tries to incorporate the whole "greatest thief in America meets the greatest thief in Europe" idea. Suddenly Twelve becomes less about planning a heist and watching things go wrong than about a cock fight to see which thief can outdo the other thief. At the end when all the convoluted twists are revealed you're left wishing for simpler times.