Jennifer Aniston is somewhere laughing… hysterically. Angelina Jolie ’s bizarre leg thrust Sunday night at the 2012 Academy Awards almost stole the show, but it didn’t earn her any friends among the sharpest tongued ladies in town. Via Radaronline : “Angelina Jolie looked like a fool the way she posed,” Rivers exclusively told RadarOnline.com. “She took herself right out of that super star category because you now realize she stands in front of a mirror to figure out [what she looks like.]” Her daughter Melissa Rivers agreed: “She was demystified! She demystified herself and it’s unfortunate because it always looks so effortless, and you think how can one person be so glamorous? It’s because she practices!” “Have you ever seen anybody stand with their hand on a hip with a leg thrown out to open an envelope? No. and you want to say, you idiot! You brought us back to the fact we’ve all forgotten that you used to wear blood around your neck and French kiss your brother!” When asked about Angelina’s ever increasingly small frame and super skinny arms, Joan made a remark that many are likely to find offensive. “That looks like Auschwitz adjacent.” She mused that the curtain has been pulled back on the façade Angelina Jolie has created. “This is the first stupid move she’s made. She handles her own pr, career and it’s all been very thought out. She turned around from kissing her brother on the carpet to being a representative of the United Nations and she’s done it all. She turned herself around to be a super star and you go whoops! Maybe she had a drink?” Do you think Mommy Banger Angelina looked a hot mess Oscar night or is Joan and her melted candle face just mad??? GettyImages More On Bossip! Stand By Your Man: Rihanna Is In Full Support Of Chris “Gimme Dat” Brown While He Awaits Word On Cell-Phone-Stealing Charges, Sends Lyrical Sub-Tweets About Getting Him Back! Exhibitionists Pt. 1: The Most Revealing Celebrity Twitpics Of All Time Matrimony-dom: Evelyn Lozada Spills The Beans About Her Wedding Plans With Chad Ochocinco! Jesus Take The Men’s Wearhouse Card: The Funniest Photoshop Pictures Of Jaheim’s Blue Suit [Photos]
This would never happen in America : “The two main candidates in this spring’s presidential election took a break from their mudslinging to crow. ‘This is a tremendous success for the French cinema,’ exclaimed President Nicolas Sarkozy on RTL radio Monday morning. ‘I adored The Artist of course.’ François Hollande, the Socialist challenger, said on his Web site, ‘Bravo to the entire cast of the film, and bravo to French cinema.'” [ NYT ]
Did Natalie Portman secretly marry fiance Benjamin Millepied recently? The subtle rings they wore to the 2012 Academy Awards appeared to be a quiet way of announcing that marriage at the Oscars on Sunday evening. Adding fuel to the fire, jeweler Jamie Wolf confirmed in a press release that she designed Natalie Portman and Benjamin Millepied’s “wedding rings.” Wolf created two diamond rings for the 2011 Oscar winner, made to fit on either side of Portman’s engagement ring, and a platinum band for Millepied. Both rings are eco-friendly, made with recycled metals and conflict-free diamonds. Wolf, one of Millepied’s dancer friends, designed Portman’s engagement ring, too. “Ben was exceptionally thoughtful and dedicated and patient to make sure
Doing voice-over ‘very different from when you’re singing songs that you wrote,’ Swift tells MTV News. By Matt Goodhue, with reporting by Kara Warner Taylor Swift Photo: MTV News From the recording studio to the stage, it’s certainly clear that Taylor Swift has a knack for expressing her emotions and skills. While the singer/songwriter has graced the silver screen only once, she’s taken her talents to the sound booth for her portrayal of Audrey, a tree-loving daydreamer in the upcoming film ” Dr. Seuss’ The Lorax .” MTV News sat down with Swift recently as she prepared for Friday’s release of the famous Dr. Seuss tale, which follows the journey of a young boy who must save endangered trees in hopes of winning a girl’s heart. While making music and characterizing an animated girl are two quite-different tasks, if anyone can do it, and do it well, there’s no doubt it is Taylor Swift. “It’s a completely different space that you go to in your head,” Swift explained about voice-over work. “It’s very different from when you’re singing songs that you wrote. …With this, you’re sitting there in a booth by yourself having conversations with no one.” Having scripted conversations by yourself and answering questions to a voice you can’t even see might seem like a lonely gig, but, as with any of her work, the Grammy-winner found meaning and excitement in her role. Even though Audrey and Swift might not exactly resemble one another physically (Audrey has red hair), the blonde singer/songwriter connected with the character on a deeper level. “She’s heavenly. She’s such a day dreamer, and she cares so much about the past,” Taylor said. “To some degree, you have to have a priority based on the past and the future as well as the present.” As seen in the trailer, the character of Audrey is fun, bubbly, curious and a big fan of trees. Swift certainly fits all of these traits, and we’re looking forward to seeing what she does with the character when “The Lorax” is released Friday. Oh, and does Taylor dig trees as much as her animated counterpart? “I grew up on a Christmas tree farm, and she’s obsessed with trees,” she shared. Do you think Taylor’s voice will work well onscreen? Share your thoughts in the comments! Check out everything we’ve got on “Dr. Seuss’ The Lorax.” For breaking news, celebrity columns, humor and more — updated around the clock — visit MTVMoviesBlog.com . Related Videos MTV Rough Cut: ‘The Lorax’
Why the contest between the year’s two biggest awards shows wasn’t really much of a contest at all, in Bigger Than the Sound. By James Montgomery Angelina Jolie presents at the 84th annual Academy Awards Photo: Kevin Winter/ Getty Images There was a wardrobe malfunction , some racy fashion , a bit of onstage inebriation , a little pre-show punking and even a Justin Bieber sighting … and none of it was enough to spare Sunday’s 84th Academy Awards from being called “as bland as oatmeal” and a “badly paced bore-fest.” Those criticisms may or may not have been deserved; after all, the three-hour-and-something telecast certainly lagged in spots, most of Billy Crystal’s shtick seemed to have been vacuum-sealed during the latter days of the Carter administration and the most memorable moments centered on supposed nipple sips and Angelina Jolie’s right leg. And, shoot, it’s not like there was a whole lot of suspense involved with the show itself; everyone knew “The Artist” was a lock to win Best Picture , and, lo and behold, it did just that. Still, there were highlights— Emma Stone’s charming (and well-written) presentation bit opposite Ben Stiller, Octavia Spencer’s gob-smacked Best Supporting Actor acceptance speech (and frequent near spills beforehand), Will Ferrell and Zach Galifianakis’ cymbal-smashing stunt — but overall, consensus seems to hold that this year’s Oscar telecast was too bloated, too straight-laced and too self-reverent. In other words, it was just like every other Oscar telecast, only with accidental nudity and some Cirque du Soleil thrown in at the last minute. Which is why, after sifting through the aftermath of the show itself, I can’t help but notice the similarities between the Oscars and the 54th Grammy Awards , which unspooled earlier this month and were greeted with the same basic criticisms immediately afterward: feckless host, lifeless pacing, predictable results. And while comparing Billy Crystal to LL Cool J is basically a futile endeavor (Crystal was funnier, but LL bested him when it came to prayer-leading and headwear), it’s not exactly a stretch to call both telecasts long-winded, or make the connection between “The Artist” and Adele. Of course, some (like, uh, me ) have already floated the notion that the Oscars and the Grammys are basically the same show anyway — both are slightly silly, thoroughly incomprehensible exercises in self congratulation — though, for what it’s worth, I actually enjoyed Sunday’s Oscars way more than this year’s Grammys. I thought the former was a better show, more creatively staged, and certainly more adept playing the hand it was dealt. To wit: Producers went into Sunday’s Oscarcast having already weathered the Brett Ratner/Eddie Murphy bad-press fiesta, and knowing that a) this year’s crop of nominated-films weren’t exactly compelling, b) a (largely) silent, black-and-white film was the odds-on favorite, c) their host was born in 1948, and d) they were opposite the NBA All-Star Game. Forget about “cool” … about the best thing the Oscars could hope for was “classy,” and in that regard, they definitely delivered. On the other hand, heading into the Grammys, the presumptive favorite had also sold nearly 7 million albums (about as close as a consensus as you can get these days), one of the most-popular hip-hop artists on the planet was the night’s most-nominated act (that would be Kanye West ), and three of the world’s biggest pop stars ( Katy Perry , Lady Gaga and Rihanna ) were all in attendance. Oh, and then, on the night before the show itself, Whitney Houston — one of the greatest singers of all time, and a talent whose entire career was basically interwoven with the history of the award — unexpectedly died. If anything, the show was set up to be one for the ages. And yet, it largely wasn’t. Sure, Adele soared and scored, but everyone else in the previous paragraph was basically an afterthought. And the tribute to Houston, featuring a very game Jennifer Hudson, was buried in the telecast and largely forgotten by the following morning. Combine all that with an odd Nicki Minaj performance, that whole “EDM” tribute and a thorough bungling of the annual “In Memoriam” piece, and the Grammys were a debacle in just about every conceivable way (except for Dave Grohl , of course, who was awesome as always). So if these two awards shows really are so similar, well, for one year at least, they weren’t. The Oscars definitely out-gunned, out-shone, and even managed to out-Grammy the Grammys themselves. There was a slight spirit of irreverence (Angelina’s leg show, Sacha Baron Cohen’s ash-spilling stunt, the boozy “Bridesmaids” salute to Marty Scorsese) that permeated throughout the buttoned-up proceedings. They even got Justin Bieber involved, and the last time I checked, he was a musician (or at least that’s what people tell me). Both certainly warranted criticisms, though perhaps that’s just the case with all awards shows these days: They are largely antithetical to the way we operate, after all: throwback, three-hour telecasts where brevity is encouraged but never really enforced. They are practically constructed to be de constructed by bloggers the following morning, painfully un-hip, unapologetically huge and forced to appeal to the broadest of demographics. And yet (or probably because of all that), they routinely deliver viewership — this year’s Grammys were watched by 39 million folks, the largest audience since 1984 — which means they’re not going anywhere anytime soon … if ever. So if we’re stuck with them, we might as well come to appreciate them. Neither the Oscars nor the Grammys are ever going to be perfect … and this year, neither were. But when comparison is necessary (and given the scope of both, basically unavoidable), the Oscars came out on top, by a large margin. They did more with less, and did so with style to spare. And less Nicki Minaj. Then again, perhaps all of this just begs a larger question: Wouldn’t it be nice if there were some alternatives out there? I wouldn’t hold my breath for an answer, so in the mean time, I’m left to compare one bloviated, bloated awards show to another, even if they don’t even merit comparison. What awards show did you enjoy more this year: the Grammys or the Oscars? Leave your comment below! The MTV Movies team has the 2012 Oscars covered! Keep it locked at MTV.com for updates on the night’s big winners and the best red-carpet fashion . Related Videos 2012 Grammy Awards Show Highlights Oscars 2012: Show Highlights Bigger Than The Sound: Stories Behind The Bands Related Photos Oscars 2012: The Main Show 2012 Grammy Awards: Main Show
… the creator of this hilariousness. Angelina Jolie has a message for those of you saying she looks too skinny : Mess with me at your own peril. Look. Do you really want to step to a woman capable of this kind of intimidation and posturing? No, we didn’t think so. And you thought Angelina’s single-leg pose was bad …
Jennifer Lopez, Casper Smart, Sandra Bullock, Owen Wilson, Ben Stiller, Chevy Chase, Martin Scorsese, Jon Voight, Skyler Shaye, Zoe Saldana, Gerard Butler, Judd Apatow, and Leslie Mann attended the 2012 Vanity Fair Oscar Party Hosted By Graydon Carter. The prestigious event was held at Sunset Tower Hotel and Hollywood.TV was there to capture all the stars! “Like” us on Facebook @ facebook.com
After all the pictures from last night’s Academy Awards , with all the hotties all dressed up and looking classy, I felt I needed to get back to my roots with some shots of a really big breasted chick letting it all hang out. Here’s Georgia Salpa busting out of a really lucky tank top. This is more like it, big breasted nobodies are the foundation that this site was built on. You’re welcome.
Either animal obsessions are instinctive to this awards season, or someone’s been unduly influenced by Movieline favorites Uggie and Otis the Oscar Cat . There is no other real takeaway from the latest animated news video from the folks at NMA, which makes nifty work of summarizing an utterly depressing, anticlimactic Academy Awards evening that “clocked in at just under 10 hours.” Have a look and see if your memory matches theirs. [ NMA ]
Congratulations to Dan Lindsay and TJ Martin, whose film Undefeated lived up to its title at last night’s Academy Awards by taking home the Best Documentary Feature Oscar. Exploring the intersection of class, race and a hard-luck high-school football team, the doc started earning fans over a year ago at Sundance — including Harvey Weinstein, who acquired Undefeated on the spot and promptly fast-tracked it for 2012 awards glory. Mission accomplished. The only thing Undefeated didn’t do? How about help get three unjustly convicted men — one condemned to die — out of prison? Which brings us to Paradise Lost 3: Purgatory , the final installment of Joe Berlinger and Bruce Sinofsky’s nearly 20-year investigation into the grisly murders of three boys in West Memphis, Ark., and the subsequent trials and convictions of three teenagers in the case. Since the first film debuted in 1996 ( Paradise Lost 2: Revelations appeared in 2000), the series’s illumination of police and judicial misconduct — to say nothing of misplaced allegations of Satanism and other perceived motives — became instrumental in the crusade to free Damien Echols, Jessie Misskelley and Jason Baldwin. The “West Memphis 3” quickly developed into a cause célèbre among observers from the cultural to legal realms; Metallica contributed music to the films, further boosting their profiles, while defense lawyers and DNA experts raced to find evidence persuasive enough to save Echols from the death chamber and, hopefully, release all three men from behind bars. Of course, as a regular consumer of media, you likely already know these details. Unless, that is, you’re a member of the Academy’s clinically insane Documentary Branch. In which case you should be ashamed of yourself. Not to take anything away from Undefeated , but… Well, actually, yeah. I would like to take something away from Undefeated : Its Best Documentary Oscar. Not necessarily because of any technical inferiority — it’s a fine, inspiring, well-made film — but merely on the qualitative basis of not having saved a man’s life or helped liberate the West Memphis 3 through thousands upon thousands of hours of research, interviews, editing and, ultimately, pure storytelling. On the one hand, sure: As Berlinger told Movieline a few weeks ago in our Documentary Nominee roundtable , “[T]here can be no bigger prize than having helped get three innocent men get released from prison after 18 plus years of wrongful imprisonment.” On the other hand, fuck that . Let’s just be honest: If we’re going to reward films like last night’s Documentary Short winner Saving Face or recent Doc Feature triumphs like An Inconvenient Truth , The Cove and Inside Job for their honorable activist intent, then what more does Paradise Lost 3 have to do to win over Academy voters? If Berlinger and Sinofsky had freed three dolphins from certain death in Japan, would that have tilted the Oscar scales in their favor? Or maybe filmed a boring-ass slideshow detailing their findings in the case? Al Gore couldn’t even stop global warming. These guys exposed one of America’s most protracted miscarriages of justice (made all the worse by the fact that prosecutors refuse to reopen the case, thus leaving the murder mystery unsolved) not once, not twice, but three times, establishing the narrative foundation on which the whole campaign to free the West Memphis 3 was built. So what gives? Was this the last indignity to be committed by the Documentary Branch under its previous set of rules — a garish sloughing off of a film funded and broadcast by HBO as opposed to one following the classic theatrical pattern that Academy leadership so cherishes? What a truly fine barometer of quality, except that Undefeated had the same one-week qualifying run that PL3 had, only opening in theaters a week-and-a-half ago. Weinstein and HBO took advantage of the same loophole. Could it have just been the Weinstein factor alone — Harvey being Harvey, pushing his nonfiction wares in his Artist / Iron Lady downtime? Or, as a friend suggested to me this morning in the clearing Oscar smoke, is this just the Doc Branch holding out for the Peter Jackson-produced West of Memphis , a recent Sundance premiere due in theaters at some point in 2012? Jackson is the only figure in this schema with as much (if not more) Academy clout as Weinstein, and it’s entirely conceivable that whatever momentum gathered in Undefeated ‘s favor — or, perhaps more accurately, in any direction away from PL3 — began with a quiet, sturdy nudge from New Zealand. It’s impossible to say or ever know for sure — unless Weinstein acquires the currently distributor-less West of Memphis , I suppose, in which case even one of those dolphins from The Cove could do the math and know the fix is in. In any case, the whole thing amounts to another black eye for the Academy’s Doc branch, a body ostensibly charged with the responsibility of recognizing each year’s best achievement in documentary filmmaking but which has so lost the plot regarding the form’s boldest, most influential works that it has sunk irretrievably beneath contempt. Like, I get why Banksy’s intoxicating, masterful Exit Through the Gift Shop last year couldn’t surmount the dry, staid recession expose Inside Job ; the branch has always sought to persuade everybody to believe that it is preoccupied with Issues, even as it routinely, criminally snubs the likes of Steve James ( Hoop Dreams, The Interrupters ) from even being nominated. But that inconsistency aside, here was a chance for the Academy to recognize filmmaking that made as much of a social impact as any Best Documentary Feature winner since perhaps Common Threads: Stories From the Quilt (another documentary originated by HBO, incidentally) claimed the prize 22 years ago. Moreover, it was a crucial opportunity for the Academy to help further mobilize the case for fully exonerating the West Memphis 3, whose release was conditional on an Alford plea that upheld their guilty verdict while leaving them on the equivalent of 10 years’ probation. The governor of Arkansas won’t pardon them without an alternative conviction, which prosecutors refuse to seek pretty much out of spite. So the saga continues, but whatever. As long as Harvey’s happy, right? I can’t overstate how frustrated this makes me. If nothing else, the Paradise Lost films taught us how to know a spot a sham when we see one — to stick to the facts and to your values and keep your eyes on the prize. But with the Oscars at this point, who even wants this particular prize? When one of the only Academy Awards categories with any legitimate sociocultural import is turned into the same old irrelevant boy’s club where we find shit like Real Steel nominated, what values are we adhering to? For Christ’s sake, people: The Transformers trilogy has more Oscars than the Paradise Lost trilogy. This is not acceptable. Something must change. I’d hate to think that it begins with me giving up, but that’s probably where it’s headed. In any case, I’m open to suggestions. Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .
