Forget actors for once. Sunday night marked the night of awards season when we got to focus on the best musical artists of the year. That's right — it was the 55th annual Grammy Awards! And it was one hell of a show. From Adele to Mumford & Sons to Frank Ocean, the best of the best in the industry walked away with awards.
Check out the full list of winners below!
RELATED: Kim Kashkashian Wins A Grammy?!
Winners Announced Live:
1. Best Pop Solo Performance: "Set Fire To The Rain [Live]," Track from: Live At The Royal Albert Hall, Adele
2. Best Country Solo Performance: "Blown Away," Track from: Blown Away, Carrie Underwood
3. Song Of The Year: "We Are Young," Track from: Some Nights, Jack Antonoff, Jeff Bhasker, Andrew Dost, and Nate Ruess, songwriters (Fun. Featuring Janelle Monáe)
4. Best Urban Contemporary Album: Channel Orange, Frank Ocean
5. Best Rock Performance: "Lonely Boy," Track from: El Camino, The Black Keys
6. Best Pop Vocal Album: Stronger, Kelly Clarkson
7. Best Rap/Sung Collabortion: "No Church In The Wild," Track from: Watch The Throne, Jay-Z and Kanye West Featuring Frank Ocean and The-Dream
8. Best Country Album: Uncaged, Zac Brown Band
9. Best New Artist: fun.
10. Record Of The Year: "Somebody That I Used To Know," Track from: Making Mirrors, Gotye Featuring Kimbra
11. Album Of The Year: Babel, Mumford & Sons
1. Best Pop Duo/Group Performance: Gotye Featuring Kimbra, Track from: Making Mirrors
2. Best Pop Instrumental Album: Impressions, Chris Botti
3. Best Dance Recording: "Bangarang," Track from: Bangarang, Skrillrex Featuring Sirah
4. Best Dance/Electric Album: Bangarang, Skrillex
5. Best Traditional Pop Vocal Album: Kisses On The Bottom, Paul McCartney
6. Best Hard Rock/Metal Performance: "Love Bites (So Do I)," Track from: The Strange Case Of..., Halestorm
7. Best Rock Song: "Lonely Boy," Track from: El Camino, Dan Auerbach, Brian Burton, and Patrick Carney, songwriters (The Black Keys)
8. Best Rock Album: El Camino, The Black Keys
9. Best Alternative Music Album: Making Mirrors, Gotye
10. Best R&B Performance: "Climax," Track from: Looking 4 Myself, Usher
11. Best Traditional R&B Performance: "Love On Top," Track from: 4, Beyonce
12. Best R&B Song: "Adorn," Miguel Pimentel
13. Best R&B Album: Black Radio, Robert Glasper Experiment
14. Best Rap Performance: "N****s In Paris," Track from: Watch The Throne, Jay-Z and Kanye West
15. Best Rap Song: "N****s In Paris," Track from: Watch The Throne, Shawn Carter, Mike Dean, Chauncey Hollis, and Kanye West, songwriters (W.A. Donaldson, songwriter) (Jay-Z & Kanye West)
16. Best Rap Album: Take Care, Drake
17. Best Country Duo/Group Performance: "Pontoon," Little Big Town
18. Best Country Song: "Blown Away," Blown Away, Josh Kear and Chris Tompkins, songwriters (Carrie Underwood)
19. Best New Age Album: Echoes Of Love, Omar Akram
20. Best Improvised Jazz Solo: "Hot House," Track from: Hot House, Gary Burton and Chick Corea
21. Best Jazz Vocal Album: Radio Music Society, Esperanza Spalding
22. Best Jazz Instrumental Album: Unity Band, Pat Metheny Unity Band
23. Best Large Jazz Ensemble Album: Dear Diz (Everyday I Think Of You), Arturo Sandoval
24. Best Latin Jazz Album: ¡Ritmo!, The Clare Fischer Latin Jazz Big Band
25. Best Gospel/Contemporary Christian Music Performance: "10,000 Reasons (Bless The Lord," Track from: 10,000 Reasons, Matt Redman
26. Best Gospel Song: "Go Get It," Erica Campbell, Tina Campbell, and Warryn Campbell, songwriters (Mary Mary)
27. Best Contemporary Christian Music Song: "10,000 Reasons (Bless The Lord)," Track from: 10,000 Reasons, Jonas Myrin and Matt Redman, songwriters (Matt Redman)
28. Best Gospel Album: Gravity, Lecrae
29. Best Contemporary Christian Music Album: Eye On It, TobyMac
30. Best Latin Pop Album: MTV Unplugged Deluxe Edition, Juanes
31. Best Latin Album, Urban Or Alternative Album: Imaginaries, Quetzal
32. Best Regional Mexican Music Album (Including Tejano): Pecados Y Milagros, Lila Downs
33. Best Tropical Latin Album: Retro, Marlow Rosado Y La Riquena
34. Best Americana Album: Slipstream, Bonnie Raitt
35. Best Bluegrass Album: Nobody Knows You, Steep Canyon Rangers
36. Best Blues Album: Locked Down, Dr. John
37. Best Folk Album: The Goat Rodeo Sessions, Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile
38. Best Regional Roots Music Album: The Band Courtbouillon, Wayne Toups, Steve Riley, and Wilson Savoy
39. Best Reggae Album: Rebirth, Jimmy Cliff
40. Best World Music Album: The Living Room Sessions Part 1, Ravi Shankar
41. Best Children's Album: Can You Canoe?, The Okee Dokee Brothers
42. Best Spoken World Album: Society's Child: My Autobiography, Janis Ian
43. Best Comedy Album: Blow Your Pants Off, Jimmy Fallon
44. Best Musical Theater Album: Once: A New Musical, Steve Kazee and Cristin Milioti, principal soloists; Steven Epstein and Martin Lowe, producers (Glen Hansard and Marketa Irglova, composers/lyricists) (Original Broadway Cast With Steve Kazee, Cristin Milioti, and Others)
45. Best Compilation Soundtrack For Visual Media: Midnight In Paris, Various Artists
46. Best Score Soundtrack For Visual Media: The Girl With The Dragon Tattoo, Trent Reznor & Atticus Ross, composers
47. Best Song Written For Visual Media: Safe & Sound (From The Hunger Games), T Bone Burnett, Taylor Swift, John Paul White, and Joy Williams, songwriters (Taylor Swift Featuring The Civil Wars)
48. Best Instrumental Composition: "Mozart Goes Dancing," Track from: Hot House, Chick Corea
49. Best Instrumental Arrangement: "How About You," Track from: Centennial - Newly Discovered Works Of Gil Evans, Gil Evans, arranger (Gil Evans Project)
50. Best Instrumental Arrangement Accompanying Vocalist(s): "City Of Roses," Track from: Radio Music Society, Thara Memory and Esperanza Spalding, arrangers (Esperanza Spalding)
51. Best Recording Package: Biophilia, Michael Amzalag and Mathias Augustyniak, art directors (Björk)
52. Best Boxed Or Special Limited Edition Package: Woody At 100: The Woody Guthrie Centennial Collection, Fritz Klaetke, art director (Woody Guthrie)
53. Best Album Notes: Singular Genius: The Complete ABC Singles, Billy Vera, album notes writer (Ray Charles)
54. Best Historical Album: The Smile Sessions (Deluxe Box Set), Alan Boyd, Mark Linett, Brian Wilson, and Dennis Wolfe, compilation producers; Mark Linett, mastering engineer (The Beach Boys)
55. Best Engineered Album, Non-Classical: The Goat Rodeo Sessions, Richard King, engineer; Richard King, mastering engineer (Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile)
56. Producer Of The Year, Non-Classical: Dan Auerbach, El Camino (The Black Keys), Locked Down (Dr. John), Savage (Hacienda), Shakedown (Hacienda)
57. Best Remixed Recording, Non-Classical: "Promises (Skrillex & Nero Remix)," Skrillex, remixer (Nero), Joseph Ray, Skrillex, and Daniel Stephens, remixers
58. Best Surround Soung Album: Modern Cool, Jim Anderson, surround mix engineer; Darcy Proper, surround mastering engineer; Michael Friedman, surround producer (Patricia Barber)
59. Best Engineered Album, Classical: Life & Breath - Choral Works By René Clausen, Tom Caulfield and John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy and Kansas City Chorale)
60. Producer Of The Year: Blanton Alspaugh, Chamber Symphonies (Gregory Wolynec & Gateway Chamber Orchestra), Davis: Río De Sangre (Joseph Rescigno, Vale Rideout, Ava Pine, John Duykers, Kerry Walsh, Guido LeBron, The Florentine Opera Company & Milwaukee Symphony Orchestra), Gjeilo: Northern Lights (Charles Bruffy & Phoenix Chorale), In Paradisum (Brian A. Schmidt & South Dakota Chorale), Life & Breath - Choral Works By René Clausen (Charles Bruffy & Kansas City Chorale), Music For A Time Of War (Carlos Kalmar & The Oregon Symphony, Musto: The Inspector (Glen Cortese & Wolf Trap Opera Company)
61. Best Orchestral Performance: "Adams: Harmonielehre & Short Ride In A Fast Machine," Michael Tilson Thomas, conductor (San Francisco Symphony)
62. Best Opera Recording: "Wagner: Der Ring Des Nibelungen," James Levine and Fabio Luisi, conductors; Hans-Peter König, Jay Hunter Morris, Bryn Terfel and Deborah Voigt; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
63. Best Choral Performance: "Life & Breath - Choral Works By René Clausen," Charles Bruffy, conductor (Matthew Gladden, Lindsey Lang, Rebecca Lloyd, Sarah Tannehill, and Pamela Williamson; Kansas City Chorale)
64. Best Chamber Music/Small Ensemble Performance: "Meanwhile," Eighth Blackbird
65. Best Classical Instrumental Solo: "Kurtág & Ligeti: Music For Viola," Kim Kashkashian
66. Best Classical Vocal Solo: "Poèmes," Renée Fleming (Alan Gilbert and Seiji Ozawa; Orchestre National De France & Orchestre Philharmonique De Radio France)
67. Best Classical Compendium: "Penderecki: Fonogrammi; Horn Concerto; Partita; The Awakening Of Jacob; Anaklasis," Antoni Wit, conductor; Aleksandra Nagórko and Andrzej Sasin, producers
68. Best Contemporary Classical Composition: "Hartke, Stephen: Meanwhile - Incidental Music To Imaginary Puppet Plays," Track from: Meanwhile, Stephen Hartke, composer (Eighth Blackbird)
69. Best Short Form Music Video: "We Found Love," Rihanna Featuring Calvin Harris
70. Best Long Form Music Video: "Big Easy Express," Mumford & Sons
Follow Lindsey on Twitter @LDiMat.
[Photo Credit: Kevork Djansezian/Getty Images]
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Real Steel – the new sci-fi sports flick from Night at the Museum director Shawn Levy – is set in the year 2020. Its vision of the future looks remarkably similar to the present save for the fact that the sport of boxing has been taken over by pugilistic robots. There are no robot butlers taxi drivers or senators – just boxers. Apparently technology in 2020 has advanced enough to allow for the creation of massive mechanized beings of astonishing dexterity but humanity has found no use for them beyond the boxing ring.
Hugh Jackman plays Charlie Kenton a has-been boxer turned small-time robot-fight promoter. A consummate hustler who’ll do anything for a buck Charlie’s fallen on hard times of late. Opportunity arrives in the diminutive guise of 11-year-old Max (Dakota Goyo) his estranged son who turns out to be something of an electronics wunderkind. Together they work to fashion Atom an obsolete ramshackle “sparring robot” left to rot in a junkyard into a contender.
Anyone who’s seen an underdog sports movie – or any movie for that matter – made in the last half-century can fairly easily ascertain how this one plays out. (The story borrows tropes from The Champ Rocky and Over the Top wholesale.) Atom proves surprisingly capable in the ring compensating for his inferior technology with grit perseverance and an ability to absorb massive amounts of punishment. Under the guidance of Charlie and Max he makes an improbable run through the ranks eventually earning a one-in-a-million shot at the World Robot Boxing championship.
Real Steel was executive-produced by Steven Spielberg; it bears his unmistakable imprint. Levy judiciously deploys Spielberg’s patented blockbuster mix of dazzling special effects and gooey sentiment wrapping it all in a highly polished if wholly synthetic package. Still Real Steel might have amounted to so much glossy hokum were it not for its champion Hugh Jackman. Other actors might eye such a project as an opportunity to coast for an easy paycheck but damned if Jackman isn’t completely invested. The film’s underdog storyline isn’t nearly as inspiring as watching its star so gamely devote himself to selling material that will strike anyone over the age of 12 as patently ludicrous. His efforts pay off handsomely: Real Steel is about as rousing and affecting as any film inspired by Rock’em Sock’em Robots can expect to be. (The filmmakers claim lineage to a short story-turned-Twilight Zone episode but who are they kidding?)
After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie
The best way to go into Pirates of the Caribbean: On Stranger Tides is to think of it as the first film in a brand new franchise; a franchise in which mermaids love men zombies won’t eat you and a Fountain of Youth exists but all laws of logic reasoning and competent storytelling don’t. Although screenwriters Ted Elliot and Terry Rossio were smart enough to sever the narrative ties to the first two sequels in their franchise’s fourth outing the latest swashbuckling adventure in the series shares most of the same faults its predecessors faced.
Director Rob Marshall (Chicago) steps in for Gore Verbinski in On Stranger Tides but you’ll be hard-pressed to find his contributions to the already-flashy film that finds our hero Capt. Jack Sparrow (the inimitable Johnny Depp) on the hunt for the fore mentioned fountain. Of course he’s not the only one looking for eternal life: also in tow are nameless stereotypical Spaniards the English crown headed by a reformed Barbossa (Geoffrey Rush) and Blackbeard a ruthless pirate who looks and sounds a lot like Ian McShane. Their paths cross on numerous occasions as the story scrambles across the map culminating in a splashy battle in a magical meadow where Ponce de Leon’s greatest discovery lies.
Less a cohesive story and more a collection of individual set pieces linked together by nonsensical dialogue and supernatural occurrences the film isn’t all that hard to follow if you don’t strain yourself doing so. The sequence of events collide so conveniently for the characters you can’t help but call the screenplay anything but the result of complacency while the film itself sails so swiftly from point to point it’s actually a waste of time to dwell on plot holes and motives. Disrupting its momentum (which is one of the few things the film has going for it) is an unwatchable romance between Sam Claflin’s missionary Philip and Syrena (Astrid Bergès-Frisbey) one of a handful of murderous mermaids who do battle with Blackbeard’s crew. Their bland courtship will have you begging for Orlando Bloom and Keira Knightley to return to the high seas and that’s saying something.
The all-female fish people are one of a few additions to the Pirates world but their effect on the film is negligible outside of being the impetus for the coolest action sequence in the picture and perhaps the most unnerving of the series. The others include Penelope Cruz as Blackbeard’s busty daughter Angelica and Stephen Graham as shipmate Scrum. The former feels out of place among the cartoony happenings but provides much needed sass while the latter fills in for Kevin McNally’s Gibbs for much of the film and is a pleasure to watch for some hammy comedic moments.
As always however this is Depp’s show and he continues to put a smile on my face with his charisma and theatrical presence. Even though he’s operating on autopilot throughout you can’t help but marvel at his energy and enthusiastic output as he literally fuels the fun in the film. The same can be said of Rush who’s given a meatier and more significant arc this time around. He trades quips with Depp as if they were a golden-age comedy duo and they remain the most appealing attraction in the franchise. Though he brings an undeniable sense of danger to the picture I was sadly underwhelmed by McShane’s Blackbeard a character with such a domineering reputation and imposing look he should’ve been stealing scenes left and right. Instead I felt he phoned his performance in though that could’ve been the result of Marshall’s indirection.
No better than the genre-bending original but a slight improvement over Dead Man’s Chest and At Worlds End On Stranger Tides suffers centrally from lack of a commanding captain. Marshall’s role is relegated to merely on-set facilitator or perhaps liaison between legions of talented craftspeople that make the movie look so good. Whatever vision he had for this venture if he had a unique take at all is chewed up and spit out by the engines of the Jerry Bruckheimer blockbuster factory rendering the film as mechanical as the ride from which it is based.
Brace yourself Dr. Laura. This clueless teen queen (Natasha Lyonne) has it all: good looks a football captain boyfriend and a popular pair of pom-poms. But her candy-colored world crumbles when her panicked parents stage an intervention after finding a Melissa Etheridge poster that leads them to conclude she's a friend of Ellen. After being carted off to an anti-gay rehab camp for teens the perky princess must choose between the straight and narrow-minded or the love that dare not speak its name.
The quirky ensemble casting is half this film's fun. Lyonne is charming as the pepster tempted by T&A and she sparks onscreen with swanky and sexy co-star Clea DuVall who plays the butch femme fatale suitor (alarmingly reminiscent of Nancy McKeon's Jo from "The Facts of Life.") Drag queen supreme RuPaul is unrecognizable out of his high heels and even higher blond wig wearing a "Straight is Great" T-shirt as a macho militant ex-gay counselor. Cathy Moriaty is sweetly sinister as the homophobic headmistress and Mink Stole steals scenes as the uptight upright meddling mom.
Kudos to Jamie Babbit for tackling this hot-potato topic but this well-intentioned film too often misses its mark turning potentially comical scenes into unbearably awkward moments. Babbit fouls when tugging at the heartstrings but hits home runs when the humor is at its broadest.