With the Academy Awards just three days away, the Internets are being overworked by bloggers and moviegoers obsessed with staying up on the latest in Oscar news. I also wouldn’t put it past awards season’s prime navigator Harvey Weinstein to have a boiler room full of trained chimpanzees plugging in Jennifer Lawrence’s name and ” Silver Linings Playbook ” into all the top search engines, such as Yahoo!, for instance. The web portal has collected some interesting data about Oscar-related searches, which I’ve culled below: * Jennifer Lawrence is the most searched Oscar-nominated actor this year. Searches for Jennifer Lawrence in the past year on Yahoo! are seven times higher than for Bradley Cooper . *Searches for Seth McFarlane are up 1644% in the past 7 days on Yahoo!. He is the top searched “seth” followed by Seth Green, Seth Meyers Seth Curry, and Seth Rogen . No pressure, Rogen! *The Top Searched Oscar-Nominated Movies on Yahoo! (Past 30 days): Silver Linings Playbook (57% of searches come from females) Argo (55% of searches come from females) Lincoln (59% of searches come from females) Les Miserables Zero Dark Thirty Life of Pi Django Unchained Beasts of the Southern Wild Amour *The Top Searched Oscar-Nominated Actors on Yahoo! (Past 30 days): Bradley Cooper Christoph Waltz Hugh Jackman Denzel Washington Robert De Niro Daniel Day Lewis Joaquin Phoenix Tommy Lee Jones Alan Arkin Philip Seymour Hoffman Top Searched Oscar-Nominated Actresses on Yahoo! (Past 30 days): Jennifer Lawrence (77% of searches come from males) Anne Hathaway Jessica Chastain Helen Hunt Amy Adams Sally Field Naomi Watts Quvenzhane Wallis Jacki Weaver Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter .
The Spring Breakers trailer has FINALLY arrived, and it’s even more packed with girls and guns and bikinis and James Franco ‘s grimy braided hot mess than I’d ever dreamed. Also, the words “Spring Break” are spoken so many times in these two minutes of mayhem (I count 11 feverish utterances) that it’s seeping into my subconscious. Watch and whet your whistle for the March 22 opener after the jump and start working on your Franco-as-Alien Halloween costumes now. Franco may be the bizarro Riff Raff-ian centerpiece of Harmony Korine ‘s pic (shout out to Gucci Mane in the trailer!) but our restless antiheroines are played by Selena Gomez , Vanessa Hudgens , Ashley Benson , and Rachel Korine, who attempt to finance the best Spring Break ever by robbing a fast-food joint before Franco comes into the picture and makes their Vice Magazine -esque fantasies come true. [via MTV ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
The Academy Award nominations brought good news and bad news to one of my favorite movies of the year. Les Misérables eight nominations including Best Picture, Actor, for Hugh Jackman , and Supporting Actress, for Anne Hathaway . That ain’t chopped liver, but the highly publicized snubbing of its director Tom Hooper along with its absence in all-important bellwether categories like screenplay and editing means what was once considered a front runner is now a real long shot to actually win Oscar’s top prize. You have to go all the way back to 1931’s Grand Hotel to find a Best Picture winner that didn’t have at least one of those three nominations. In the face of those daunting stats, Les Misérables would be a shocking Best Picture winner, but if any movie deserves the upset , it’s this one. A certified box office hit domestically, it just opened to huge numbers over the weekend in England and looks to be a continuing international smash. “Do You Hear The People Sing? is not only the stirring anthem from Hooper’s adaptation, it’s an apt metaphor for the impact of a revolutionary film about revolutionary spirit. Hooper took great risks in the telling of Les Misérables — and he succeeds. Twenty-seven years in development, the film looked like it might never be made when The King’s Speech director came up with the novel idea of shooting the cast’s musical performances live instead of taking the usual movie-musical tack of pre-recording the songs and dubbing them in later. Without that artificial technique hampering the actors, Hooper and the creative team from the original musical — Alain Boublil, Claude-Michel Schoenberg and Herbert Kretzmer — along with the adaptation’s screenwriter, William Nicholson, found a way to meld the dramatic impact of Victor Hugo’s classic, gritty novel with the theatricality of the beloved stage production for a movie musical experience that hasn’t been seen on the big screen in years. Emotion is at the core of this remarkably entertaining and powerful film. Jackman , with his considerable musical chops, was the obvious choice to play petty-criminal-made-good Jean Valjean, and he delivers even in the difficult two-and-a-half-octave range the role requires. Although Russell Crowe can’t match his co-star in the singing department, he still scores as a potent Javert. Hathaway breaks hearts as the doomed Fantine, as does Samantha Barks in the role of Eponine. And though Amanda Seyfried’s portrayal of Cosette is not so dramatically challenging, she still manages to shine in the role. That said, it’s Eddie Redmayne , as Marius, who threatens to steal the whole show with an impassioned performance that heralds the arrival of a major new movie star. Hooper’s aesthetic choice to shoot the emotional moments in unrelenting close up is a good one, and this is a musical that even those who hate musicals should find satisfying in its dramatic pull and remarkable ability to move us. Oscar, are you listening? RELATED: Review: Les Misérables’ Hits High Notes, But Also Skitters Follow Pete Hammond on Twitter. Follow Movieline on Twitter.
Thank god for post-production. After the travails of casting , owning the director’s chair and wrangling two unruly actors , the final shot is done. No more sets and arguments, it’s now all about catching Zen in the edit room. Wallace Cotten begins to edit his masterpiece. Cotten recalls his favorite part of the post-production process and that means he doesn’t have to see some particular people again – at least offscreen. Or does he? Much to his dismay, Don and Lizard Man are there to help out with “final cuts” and songs for the soundtrack. Watch it all play out in Episode 4 of Modern Imbecile’s Idiot’s Guide To Making Movies For Dummies presented by Slamdance TV! Slamdance alums Kevin M. Brennan and Doug Manley have teamed up with Slamdance TV to present Modern Imbecile’s Idiot’s Guide To Making Movies For Dummies. In the five part web series, Slamdance TV’s very own Ben Hethcoat goes behind the scenes of Wallace Cotton’s latest feature film, COP HEAT starring Brennan and Manley as the titular duo, Don and Lizard Man. COP HEAT “Two hot for the streets. Two hot to handle.” Join the festival ‘By Filmmakers, For Filmmakers’ in this Slamdance TV original web series which explores the independent filmmaking process. Slamdance Film Festival takes place January 18-24 in Park City, UT. For more information visit slamdance.com Facebook.com/SlamdanceFilmFestival Twitter @Slamdance PREVIOUSLY: ‘Modern Imbecile’s Idiot’s Guide To Making Movies For Dummies,’ Episode 1: Casting ‘Modern Imbecile’s Idiot’s Guide To Making Movies For Dummies,’ Episode 2: Directing ‘Modern Imbecile’s Idiot’s Guide To Making Movies For Dummies,’ Episode 3: Acting
So you might have heard that the 85 th Academy Awards nominations have been announced . Good for you, person who wakes up early in the morning. This year’s nominees contains some shocking snubs — no best director for Tarantino or Bigelow ? — as well as some pleasant surprises, but if the majority of the nominees will have us bitching or raving until March, the Best Original Song category plays it as frustratingly safe as ever. To be fair, the nomination of “Everybody Needs A Friend” from Ted comes as a surprise, and Adele’s Skyfall theme is a classic that would deserve to win regardless of the year it was nominated. Despite this, looking at the list of nominated songs one can’t help but be baffled, particularly given how interesting this year’s list of potential selections actually was. The list of eligible songs , released in December, reads like one of the craziest drug-fueled mix tapes ever made. There were three — three! — songs from Casa De Mi Padre. There were three songs from Django Unchained including “100 Black Coffins” by Rick Ross that would have finally put Three 6 Mafia’s 2006 win in context. “Razors.Out” from The Raid: Redemption , the sole good song ever associated with Linkin Park, was a potential. And dammit, Matthew McConaughey’s scene stealer “’Ladies of Tampa” from Magic Mike could have been a contender. Even Katy Perry’s “Wide Awake” would have been an interesting (and, I suspect, controversial) choice. The songs are selected based on how they work within their featured scenes, but even that doesn’t get the list off the hook. By that criteria alone, “Ladies of Tampa” should have been the hands-down winner. (Maybe the Academy hates male strippers?) Instead, the nominated songs confirm once again that the Oscars might as well cut a royalty check to Stuff White People Like creator Christian Lander and call it a day. Yeah, a nomination from Les Miserables was a given, because the Academy loves ambitious musicals like the day is long. But “Before My Time” from Chasing Ice and ” Pi’s Lullaby “? Snore. NPR has more interesting music during All Things Considered interstitials. What’s the solution? Probably nothing, aside from demographic shifts that inevitably will result from an influx of new voters with fresher taste in music. But that doesn’t make the risk-averse and tone-deaf nature of these choices any less disappointing. Let’s take a moment then to reflect on the fact that we won’t be seeing a topless Mcconaughey, or western-suit wearing Will Ferrell , performing at this year’s Academy Awards, and why not let us know in comments how you feel about this year’s songs. Ross Lincoln is a LA-based freelance writer from Oklahoma with an unhealthy obsession with comics, movies, video games, ancient history, Gore Vidal, and wine. Follow Ross Lincoln on Twitter. Follow Movieline on Twitter.
Les Misérables director Tom Hooper may have been bypassed with a nomination Wednesday by the British Film Academy for Best Director (though the film itself received nine nominations), but at the Palm Springs International Film Festival this week, he received the event’s Sonny Bono Visionary Award at a celeb-filled event that included Naomi Watts, Bradley Cooper, Helen Mirren, Sally Field and Ben Affleck. At the festival, Hooper talked about the creation of Les Misérables , why the story made him cry and the “dark box” Anne Hathaway traveled to as she took on the role of Fantine. [ Related: Tom Hooper Defends His ‘Les Misérables ‘ Close-Ups & Reveals Who’s The Bigger Musical Geek: Jackman or Hathaway ] Les Misérables became the quickest musical to top out over $100 million last weekend and it has factored heavily on the Awards Circuit this year. The Victor Hugo novel had been on Hooper’s mind even before The King’s Speech won Best Film and Best Director two years ago, saying he hoped the emotional impact he experienced with audiences on that film would translate in his next feature. “I was overwhelmed with how much emotion The King’s Speech was greeted with when I traveled with it around the world and I wanted to find material that would keep that emotion going and even take it further and Les Misérables is famous for creating that feel,” said Hooper. “And I thought it would be possible to make it a more intense emotional experience for the audience.” Hooper, who spoke with Deadlin.com’s Pete Hammond following a screening of the film at the Palm Springs International Film Festival, showed his lighter side before a full audience, saying that he had wept after first seeing Les Misérables after seeing the lead character, Jean Valjean (played in the on-screen version by Hugh Jackman) die. “I was weeping and I thought about why I was weeping,” said Hooper. “And it was because I thought about the day my own father will die. And then I thought about something my own father said to me, which was that he said as he gets older he wants to master ‘the art of dying well.’ Continuing he added, “I really thought about that and thought about that last act of grace. This film really does look death square in the face. For Jean Val Jean, it’s all about love…And he dies having done the ultimate obligation of finding love for her and in that moment we feel he has transcended death and that’s the ultimate message of the movie.” Hooper said he auditioned every actor in the film from “Hugh Jackman, Russell Crowe on down” because he was committed to doing Les Misérables live. He praised Jackman’s ability to “communicate through song,” which Hooper said was magical. “The Hugh Jackman audition took place last May in New York and it was an extraordinary three hours,” said Hooper. “When Hugh sings, he’s so comfortable communicating through song that you don’t want to hear him speak. Hearing him sing was the best place to be… The other thing I noticed was that Hugh had an emotional side to himself that I had never seen before.” Hooper said he wanted Les Misérables sung live to allow his actors leeway to own their characters and their emotions, adding that the decision was important in portraying the feature’s characters. “Great acting is about being in control of the medium at the time. Because great acting is about you being the author or creator of the dialog or songs you were given to play and to sell that illusion you’re inventing and the joy of doing it live allows you create the moment of invention.” Hooper noted Anne Hathaway’s lauded performance in the seminal number, “I Dreamed A Dream” as an example of how the live performance gave Hathaway, in this case, flexibility. “In ‘I Dreamed A Dream,’ Annie sings and then there’s a long pause, and then says, ‘But it all went wrong.’ In that pause, she’s communicating everything that happened to her: How she’s been raped, how she had her hair cut and everything that’s gone wrong with her life. In musical terms that should have been a moment, but Annie takes ten seconds and earns that moment.” Hooper noted that Hathaway told him after performing the song that she had mentally traveled to a dark space, saying the actress said, “Tom I opened the lid of a box I lived inside and closed that lid and I hope I never go inside that box again.” [ Tom Hooper and actor Eddie Redmayne at the Palm Springs International Film Festival. Photo by Brian Brooks ]
If you and the fam headed to the multiplex to watch one of the season’s big new releases this week , chances are you caught Tom Hooper ‘s epic weepie Les Miserables or Quentin Tarantino ‘s Django Unchained . (Or maybe the in-laws dragged you to Parental Guidance , in which case, my condolences.) We’ll get spoilery all over Django later, but for now let’s get to hashing out the answer to the question that’s been on every showtune-lover’s mind for months: Which Les Miz cast member totally nailed the live-sung suffering for the big screen (and whose warblings made us les miserables )? I’ll start: Anne Hathaway ? NAILED IT. I’ll admit I was tres apprehensive at first listen when the trailers featuring her tremulous Fantine cry-singing hit the web. Watching the whole film, however, it’s clear Hathaway and Hugh Jackman are leading a masterclass in sing-acting for the entire Les Miserables cast, and in context the breathy imperfect perfection of Hathaway’s “I Dreamed A Dream” is downright heart-wrenching. It’s been said before, but the Oscar already belongs to that hitch in her voice that hits as she’s choking on tears while wailing about her miserable prostitute life with Hooper’s camera all up in her face — one of the only performances in the film riveting and emotional enough to sustain those damned extended close-ups . Runner-up for best performance in Les Miserables goes to Jackman, who wows in Jean Valjean’s pre-bath scenes with a filthy, feral energy that I honestly didn’t think he had in him. Pacing back and forth in the bishop’s chapel during “What Have I Done?” Jackman is riveting; you can see Valjean’s confused, broken mind reeling as Jackman spits and cries out in song, and Hooper’s camera work actually fits the number. It’s a shame, then, that the nearly three-hour running time of Les Miserables suffers from Jackman fatigue by the time Valjean’s singing his umpteenth song. On second thought, I’ll give Jackman a tie for runner-up with the little kid who plays Gavroche. (His name’s Daniel Huttlestone. He’s 12. He started his career on the West End. What have you done with your life lately?) Talk about making the most out of a handful of screen minutes; I’d trade a dozen of Jackman’s blah Valjean scenes for more of the impish street urchin who fights on the front lines with the students. I’d watch Gavroche picking pockets, or scamming rich folk, or stealing hearts up and down the dirty streets of Paris. In fact, can we just make him the Han of Les Miz and give him his own Fast & Furious -style prequel where he goes on a Moonrise Kingdom -esque adventure that never ends? (Also great: Samantha Barks as Eponine , the patron saint of girls harboring unrequited life-and-death crushes on boys who are too dumb to see what’s in front of them, and Aaron Tveit AKA Tripp from Gossip Girl as Enjolras.) Now for the not-so-great performances. Let’s just say that Amanda Seyfried ‘s birdlike soprano trill is totes fine, but I daresay she was wasted in the role of Cosette, AKA The Most Boring Girl In All Of France. I can take or leave Sacha Baron Cohen and Helena Bonham Carter as the Thenardiers, whose slapsticky numbers took some folks out of the abject misery of Les Mis but didn’t move the needle for me in either direction. Russell Crowe did himself no favors in my book with his mismatched 30 Odd Foot Of Grunts belting , but Hooper made it worse with those CG crane shots of Javert, wailing existential above the sewers in a dead-armed stance. I love me some Russell Crowe, but by the time he finally jumped to his death with a sigh of despair, I was rooting for it. Sweet, sweet relief. So, Movieliners: Did you hear the Les Miserables cast sing? Who made your heartstrings ache the hardest? Who sung the sweetest through the tears? Which cast members would you let warble their most miserable miseries in your castle on a cloud? READ MORE ABOUT LES MISERABLES : ‘Les Misérables’ Hits High Notes, But Also Skitters Great Moments In ‘Les Miserables’ Mania: Katie Holmes Sings ‘On My Own’ On ‘Dawson’s Creek’ Early Reaction: Oscar Race Heats Up As NYC Screening Of ‘Les Miserables’ Prompts Cheers & Tears Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
After several hours during which it was assumed to be a very competent fake, Warner Bros . has confirmed that the autographed photo originally posted this morning on Ain’t It Cool News is indeed our first glimpse of Tom Hardy as Max Rockatansky in Mad Max: Fury Road . The photo, part of a signed set given to the crew by Hardy on the last day of filming — Fury Road wrapped on Monday — reveals little about the movie, aside from the slightly more modern look of Hardy’s take on the character, and the fact that Hardy is extremely handsome even when you factor for the post-apocalyptic wastes of Australia. Gone is Max’s trademark police-issue black leather jacket with a single oversized spaulder on the right shoulder. In its place is what appears to be a rough-cut leather jacket with a more contemporary military look. Obviously, it should be assumed that years have passed since we last saw Max and that he’s long since run out of black polish, but it gives Max a subtle update that suggests the apocalypse happened more recently than the later years of the cold war. It’s unwise to make predictions based on a single image, but to my eyes the most interesting thing about the picture is that you can kind of see a hint of the original plan for Mad Max 4. First conceived as an animated 3D film to be co-written and co-designed by cartoonist Brendan McCarthy, who’s known for his long run on Judge Dredd in the anthology comic 2000AD , Max’s uniform as seen here is definitely reminiscent of the kind of post-civilized militarism you see dripping from the pages of that book. As McCarthy is still credited as cowriter of the live-action Fury Road s cript, I look forward to seeing how much of his aesthetic vision made it into the finished film. Considering Fury Road is packed with Characters like Charlize Theron’s Imperator Furiosa and Nathan Jones’ Rictus Erectus, my guess is ‘a lot. [ Ain’t It Cool News ] Follow Ross Lincoln on Twitter. Follow Movieline on Twitter.
Twenty-two-year-old Samantha Bark s may have been destined to play Eponine in Tom Hooper ‘s ambitious Les Miserables film adaptation, given that she’d warble the iconic character’s songs into the mirror at age six and, years later, would go on to earn acclaim playing the tragic innkeepers’ daughter in London’s West End and in Les Miz ‘s 25th Anniversary concert. But Barks really knew she’d made it when she found herself sparring with onscreen dad Sacha Baron Cohen on the Les Miserables set: “I can’t believe I actually spat in Ali G’s face!” Barks’s Eponine is a standout among Hooper’s cast of known triple-threats and familiar faces, but the production required her to undertake perhaps the most difficult transition of all – adjusting from playing Eponine onstage in front of thousands to translating the character’s heartbreaking devotion to rebellious student Marius ( Eddie Redmayne ) for the intimacy of the screen. Her version of ” On My Own ,” filmed in a long, rainy shot per the film’s more virtuoso numbers, might be the umpteenth time Barks has sung the iconic ballad in her career to date, but as the Isle of Man native told Movieline , “every time I hear that song, or perform that song, it just sets my heart on fire.” I love Eponine — she’s one of the best roles in Les Miserables , the one I identify with most. How does it feel right now to be at this point in your journey with her, this being your first film and a character you’ve lived with for so long? I feel ecstatic because I played this role on the West End for a year, took it to the O2 Arena for the 25th anniversary, and now to the film — it kind of feels surreal to have had three different experiences of this wonderfully iconic role. Each one has been different, but I’ve spent over four years of my life making her really the most consistent thing that’s been in my life for the last couple of years, and I feel so proud just to be a part of her. I happened to be on Twitter the night Cameron Mackintosh made the surprise announcement, onstage after your show in front of an entire theater, that you had landed Eponine in the film . There were Tweets left and right and it sounded like quite a magical way to learn that you’d won the role. Take me back to that moment. How do you remember it? Oh, gosh. It was the most shocking, amazing piece of news I could receive, but done in the most unique way I think you could ever find out you’ve got a role, you know? It was very unheard of to find out like that! I was in a state of shock. He walked onstage as I was taking my bow and he made a speech about Oliver Twist and Charles Dickens, and he managed to segue onto the fact that I’d won the role of Eponine in the Les Miserables film! And that reaction of mine — I was just completely speechless. It’s also exciting for me to actually be able to watch that clip; I’ve seen that clip on the internet, and it’s kind of proof that the moment actually happened. If you had to guesstimate, how many times do you think you’ve sung “On My Own” in your life? [Laughs] It’s hard because I’m rubbish at math, but basically… eight shows a week for a year, and then the O2 performance, and then some rehearsals on top of that, plus another definite 15 takes for the film, and rehearsals — so there’s a lot of singing that song! [ Ed. note: That puts Barks’ number at 400+. ] And it’s funny because every time I hear that song, or perform that song, it just sets my heart on fire. It’s such a tragic tale. It’s a role I relate to so much that getting to perform that song every single time makes me feel so alive. I feel so lucky to get to sing it. You’ve played Eponine opposite Eddie Redmayne ’s Marius — not to mention Nick Jonas’s Marius — but what do you see at the core of these two characters’ relationship that makes it so compelling no matter who’s playing the role? Girls can relate to unrequited love and that’s one thing, but what not a lot of people can relate to is exactly how dark Eponine’s life is. She has a line in a song where she says, ‘Without a home, without a friend, without a face to say hello to,’ and that’s her life — Marius is really Eponine’s everything and it’s not just about falling in love with somebody on a teenage level, it’s also about somebody being your only piece of light in a very dark life, and that’s heartbreaking about Eponine. Was Eponine always the character you loved and identified with most? When I was six I would sing ‘On My Own’ into a hairbrush in front of a mirror and wanted to be Eponine, which is crazy because she’s got such a tragic life! It doesn’t make any sense that I’d want that for myself but it’s one of those things where you’re a young girl, ‘I want to be Eponine! Or Cosette, or Fantine, or whatever. This is your first film, and there’s a significant difference between how performers modulate their performances for the stage versus for the camera. Did film acting come naturally to you, or did it feel alien? Having never done a film before it was definitely something I had to learn, how to play it. I’d done the stage version of Les Miz , but for me when you come to the screen so many details shine through on camera, so you need to be a lot more detailed with it — you can’t have loose ends like you can in a theatrical piece because it’s heightened. With this you need to be more specific, you need to be detailed, and we’re so lucky to have Victor Hugo’s fantastic novel there to add those details and depth to these characters. You know in the book, Eponine spends a couple of months in prison. That gives you more of an insight into the background she comes from, and that’s why it’s more miraculous when she does eventually do a good deed. How helpful or challenging was it to be immersed in those environments filming musical scenes in long takes, as you did with ‘On My Own,’ literally in the rain, 15 times?I imagine it’s quite a different experience than performing it on a stage without cold water and elements being thrown at you. It was hard. The challenges were physically very difficult. Singing under a rain machine, you’re shivering all day. Someone on set was like, ‘What’s that sound?’ ‘Oh, it’s Sam’s teeth — they’re chattering!’ I can’t help it! These long takes were really fantastic because it meant that you could really build that musical arc throughout the song organically. The hard thing was sometimes Tom would say, ‘Ok guys, build a barricade — Action!’ And you’d have to build a barricade from pianos that were flying out of the windows. The adrenaline that goes through you is intense. They actually dressed up cameramen as students and sent them out amongst us. And what [Tom] does is he captures these real moments of fear that are so fantastic to be a part of, because when he yells ‘Cut!’ the adrenaline flowing through you is just like no other. It’s incredible. What was it like to have Sacha Baron Cohen and Helena Bonham Carter as parents? When I first found out that I was going to be playing their daughter I thought, that’s a pretty cool claim to fame! They are the coolest onscreen parents I could ever wish for. And working with Helena — she’s so quirky and the most unique person I’ve ever met. The things she says are so fascinating and wise, it’s incredible. And Sacha is a comic genius — I grew up so obsessed with his work. Did you watch Ali G? Oh yeah, I used to watch Ali G in da U.S.A. ! He was phenomenal. And actually, the scene we had wasn’t very comedic at all, because in the scene he slaps me and I spit in his face. And he actually slapped you? Yeah! We went for realism. I was like, ‘Bring it on!’ So I can blame no one but myself. I left the day with a very sore, red cheek, and he left feeling extremely gross because I’d spat at him all day. And I was like, ‘I can only apologize for that.’ I can’t believe I actually spat in Ali G’s face! READ MORE ON LES MISERABLES : Eddie Redmayne On ‘Unlearning’ ‘Les Miserables’ & Prince William’s Singing REVIEW: ‘Les Misérables’ Hits High Notes, But Also Skitters Early Reaction: Oscar Race Heats Up As NYC Screening Of ‘Les Miserables’ Prompts Cheers & Tears Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
