Seth McFarlane and Emma Stone announced the nominees for the 2013 Oscars Thursday morning and Lincoln leads the pack with a whopping 12 nominations including Best Picture, Best Director, Best Adapted Screenplay, Best Actor, Best Supporting Actor and Best Supporting Actress — but fans of Flight, Beasts of the Southern Wild and Django should be happy to learn those films and the actors who starred in them were recognized as well. There are a few snubs we’ll point out to you too, but check the full list of nominees when you continue.
So there’s a new Pacific Rim trailer out. It’s not a whole lot different from the last one that was released, and, like the last one, it leaves me with one big suspension-of-disbelief problem. I can’t say I’m a student of the whole Gundam/Jaeger/Voltron school of big bad-ass mechanical suits, but every time I see the scene — that’s been in both trailers — in which two side-by-side soldiers operate the legs of the fighting machine by running in place, I have to ask, why would any defense contractor build a weapon that would requite more than one independent-thinking individual to operate it? I know that there’s some kind of neural piloting system called “pons” that keeps everyone in the Jaeger operating as one, but, I mean, those soldiers look pretty strapped in place. What if one of them gets a cramp? It looks like Guillermo Del Toro is going for a Real Steel meets Fritz Lang’s Metropolis by way of Michael Bay’s Transformers -type vibe, but I keep thinking that, on a logical level, operating one of these Jaegers would be a coordination nightmare, particularly in the heat of battle. And if I had Idris Elba yelling in my earpiece all day, I’d have an even bigger problem staying in sync. Also, if you look at this Defense Advanced Projects Research Agency (DARPA) video, the future of robotic warfare looks like the only humans required will be those operating the remote controls. (That AlphaDog just won’t go down.) Why make it more complicated than that? I’m betting that some Pacific Rim super fan out there will have answers to my questions and restore logic and balance to my world. Leave them in the comments section below. [ScreenRant ] Follow Frank DiGiacomo on Twitter . Follow Movieline on Twitter.
Even as the U.S. Senate continues to inquire about what it says are misrepresentations of the use of torture in the successful hunt for Al Qaeda mastermind Osama Bin Laden in 2011, filmmakers Kathryn Bigelow and Mark Boal defended their Oscar hopeful Zero Dark Thirty at the New York Film Critics Circle Monday night. “I thankfully want to say that I’m standing in a room of people who understand that depiction is not endorsement, and if it was, no artist could ever portray inhumane practices,” Bigelow is quoted as saying in Huff Post, while accepting the organization’s Best Director award. “No author could ever write about them, and no filmmaker could ever delve into the knotty subjects of our time.” Senator John McCain of Arizona and Diane Feinstein of California have criticized the pic as showing water-boarding and extreme isolation among other tactics as being instrumental in the U.S. government’s decade-long search for Bin Laden. “We believe the film is grossly inaccurate and misleading in its suggestion that torture resulted in information that led to the location of [Osama] bin Laden,” Feinstein, McCain and Michigan Senator Carl Levin wrote to Zero Dark Thirty ‘s studio, Sony in December. Writer/producer Mark Boal said he was proud of the film Monday night and is unmoved by criticism which has also come from Oscar-winning filmmaker Alex Gibney. I stand here tonight being extremely proud of the film we made,” he said Monday, while accepting the prize for Best Picture with Bigelow and producer Megan Ellison. “In case anyone is asking, we stand by the film. I think at the end of the day, we made a film that allows us to look back at the past in a way that gives us a more clear-sighted appraisal of the future.” He added jokingly, “Apparently, the French government will be investigating Les Mis .” Jessica Chastain, who plays the CIA operative who tracks down Bin Laden in Abbottabad, Pakistan, which lead to the Navy Seals raid on the compound that resoled in the Al Qaeda head’s death, told David Letterman in a recent appearance that she believes in the film’s accuracy, though acknowledged they had to shorten a decade-long hunt into a feature-length movie “Mark Boal is the investigative journalist so he’s the one who got all the information and I just went and did my job and did my research,” said Jessica Chastain to Letterman who joked that she’s not going to be arrested. “I’m afraid to get called in front of a Senate committee…” laughed Chastain. “In my opinion, this is a very accurate film… I think it’s important to note the film is not a documentary. So of course, there has been some things…We took 10 years and put it in two-and-a-half hours…” [ Sources: Huffington Post , THR ]
Quentin Tarantino and David O. Russell were edged out of the pack in today’s Directors Guild Award nominations announcement, giving way to a rather conservative quintet of Oscar hopefuls. So let the DGA backlash begin: Between Ben Affleck ( Argo ), Kathryn Bigelow ( Zero Dark Thirty ), Steven Spielberg ( Lincoln ), Tom Hooper ( Les Miserables ), Ang Lee ( Life of Pi ), which nominee should have gotten the shaft to make the DGA race even remotely interesting? Ben Affleck & Argo : A solid pick and, before ZDT came in and stole its thunder, the crowd-pleasing (and Hollywood ego-boosting) Middle Eastern true story political potboiler of choice. Kathryn Bigelow & Zero Dark Thirty : I mean, obviously . Steven Spielberg & Lincoln : It’s three-time DGA winner Spielberg’s eleventh DGA nod. Let’s face it, this was a gimme. Ang Lee & Life of Pi : Let’s think for a minute on how Quentin Tarantino was not nominated for the much better, much ballsier Django Unchained (even including David O. Russell’s solid rom-com Silver Linings Playbook would have suggested the DGA had more of a pulse), but — sigh — it makes complete, safe sense that Lee’s breathtaking 3-D CG work earned snaps from this guild. Tom Hooper & Les Miserables : The bigger WTF: Tom Hooper’s Tom Hooperness bamboozled the DGA. I blame Claude-Michel Schönberg’s music and Anne Hathaway’s tears for why the DGA nominated one of the worst directing jobs of the 2012 awards season. What say you, Movieliners? PREVIOUSLY IN AWARDS: Writers Guild Awards Unveils 2013 Nominees Oscars To Fete James Bond – Finally Producers Guild Of America Unveils 2013 Nominees Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Despite the fact that Princess Leia is every bit as iconic as Luke Skywalker and Han Solo , the fact remains that the entire Star Wars series has a total of five women with speaking roles, and only three of them — Padme/Amidala, Leia, and Anakin’s mother — count as major characters. It’s no wonder then, that Anakin had to be conceived by the Force itself, since apparently, there aren’t enough women in the Star Wars galaxy to populate a trailer park, much less a multi-planet republic, by normal means. But could the force finally be with the double-X chromosome squad for a change? If a cryptic tweet from Slashfilm ‘s Peter Sciretta hasn’t been misunderstood, the answer is a solid “possibly”! ‘Star Wars Episode 7’ Plot Possibilities Now obviously, we’re still very much in early speculation mode for Star Wars Episode VII . Will it be burping- and Jar Jar-free? Will it be based in-part on the Expanded Universe? Will we see aging stoner Harrison Ford playing an elderly Han Solo, like The Dude ? Who knows?! But speculation is the fuel on which the Internet runs, so far be it for me to say anything other than ‘yes, all those things will be true.’ The biggest mystery is, of course, just who the new films are going to be about. Everything, from the children of our original heroes, to the further adventures of Geriatric Luke, has been baselessly suggested, but Disney is keeping mum for now. Of course, even if Disney is bringing the full power of their enormous secrets-keeping machine to bear (seriously, how did they keep the Star Wars deal a secret for so long?), now that Episode VII is almost certainly in the full flower of pre-production, tidbits are bound to come out. Enter Sciretta, who tweeted this circumspect comment Thursday afternoon: Who said the lead character in Star Wars Episode VII is going to be a male star? :)— Peter Sciretta (@slashfilm) January 03, 2013 According to a Slashfilm Star Wars round-up post by Germain Lussier on Friday morning, Sciretta asked that this tweet be added to the article, but that “he couldn’t say anymore,” which strongly suggests he knows something specific, or at least wants us to think he does. The comment could be taken in any number of ways, of course. He might simply mean they’ll be casting a relatively unknown male actor in the lead. But the fact that he felt the need to specify male, rather than leave the question of gender blank, suggests the tantalizing possibility of a female lead. And yes, the sound you hear is millions of voices, crying out, “About damned time.” As for who this character could possibly be, don’t look to the established Star Wars Expanded Universe for answers. The official canon is incredibly convoluted at best. (See for yourself here .) It’s a tiered system in which the movies, and George Lucas himself, overrides everything else. Sure, we might see fan favorite Mara Jade, or even Leia and Han’s daughter Jaina, but given that public statements suggest the new films will plot their own course, I expect a completely new character. Assuming for a moment that Episode VII will mine the Expanded Universe, who would you like to see take the postulated female lead? Let us know, and feel free to argue about continuity, in comments. 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. [ SlashFilm ] Follow Ross Lincoln on Twitter. Follow Movieline on Twitter.
It’s been tough to know what to expect from the forthcoming remake of Sam Raimi’s horror classic Evil Dead , but let the first trailer put your mind to rest — or, really, unrest: This is good, old-fashioned, red-band terror that manages to evoke the spirit of the original film (evil book unleashes spirits in a cabin in the woods; nothing good comes of it) with all new kinds of messed up, squishy images to keep you awake at night. Gone is the safe, comforting distance created by low budget 1980s effects work and Bruce Campbell ‘s cult status-worthy antics; with its new “heroine” (Jane Levy) and gang of fresh meat soon-to-be-victims and some fantastically icky gore shots, this ain’t your grandpa’s Evil Dead . Fede Alvarez is in the director’s chair on the April 12 release, while Raimi and Campbell are onboard as producers. Take a look at the redband trailer below and chime in with your verdict, and good luck keeping your dinner down/fending off visions of creepy tongue-splitting possessed girls in your nightmares tonight. Synopsis: In the much anticipated remake of the 1981 cult-hit horror film, five twenty-something friends become holed up in a remote cabin. When they discover a Book of the Dead, they unwittingly summon up dormant demons living in the nearby woods, which possess the youngsters in succession until only one is left intact to fight for survival. [ Evil Dead on YouTube ] Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
Adam Lambert really wants to make sure you understand his problem with Les Miserables . After the ex- American Idol contestant slammed the “distracting” singing and the actors who didn’t sing very well, Russell Crowe came out and actually echoed a few of Lambert’s complaints. But Adam isn’t done with the film. “My movie review has gone viral,” Lambert Tweeted today. “U can spend a whole year praising artists for inspiring work, but one critique gets all the attention. Funny.” The singer then went on to specify his issues with the big screen adaption: “Those raw and real moments when characters broke down or were expressing the ugliness of the human condition were superb. However… My personal opinion: there were times when the vocals weren’t able to convey the power, beauty and grace that the score ALSO calls for. “I guess I’m a purist for the original LIVE broadway recording when the actors sang the f–k outta those songs. JUST an opinion… I should prob stop fanning the flames on this one…but I love a good debate- couldn’t help myself.” And, finally, Lambert wants it known: he adored Anne Hathaway in her role and says the actress deserves an Oscar. Okay then. Are we done now? Have you seen Les Miserables ? What grade would you give this version of the musical? A B C D F View Poll »
Twin Peaks co-creator Mark Frost appears to have put an end to the latest flurry of Internet rumors surrounding the resurrection of David Lynch’s seriously weird but beloved cult series. On Dec. 31 an anonymous poster on the 4chan message board, wrote of attending a meeting between Lynch and NBC executives about bringing back a number of the original characters for a third season of the show, which originally aired on ABC from April 1990 to June 1991. The tipster claimed that the idea was in the “early stages” and that NBC executives were a “little on edge” about Lynch “tackling [the series] alone” given the Eraserhead director’s iconoclastic tastes. According to Anonymous, Lynch discussed setting the new season in the modern day, with good Agent Cooper ( Kyle MacLachlan ) stuck in the lodge and bad Cooper in jail. This time, a young female reporter will purportedly “uncover the truth” behind such conundrums as the killer BOB and the Lodge that defies time and space. At the time, those little morsels of unsubstantiated rumor didn’t seem so far-fetched given a report on Moviehole.com in which Frost was quote saying that a season-three storyline is “something we talk about from time to time… If we ever do decide to move forward, I know we have a rich trove to draw from. Cast and crew members, such as the series’ “Log Lady,” Catherine E. Coulson and writer/producer Robert Engels, have also reportedly been contacted about the possibility of resuming their roles. Alas, on Wednesday Frost tweeted the following, which appeared to debunk the rumors: Dear Internet: You are very good at spreading rumors. Truth is more valuable and much harder to come by. Sincerely yours, @ mfrost11 — Mark Frost (@mfrost11) January 02, 2013 Daily Beast West Coast Deputy Bureau Chief Jace Lacob also tweeted that, in an email, Frost indicated that he and Lynch had had no contact with NBC. @ TwinPeaksRedux That there have been no conversations between them (i.e., Frost and Lynch) and NBC.— Jace Lacob (@televisionary) January 03, 2013 What is there to do but grab piece of cherry pie and exit stage left with my favorite reaction from the Twin Peaks Archive Twitter feed, where much of this drama has been playing out: It is not happening again. We all need a cold shower.— Twin Peaks (@TwinPeaksArchve) January 03, 2013 [ Moviehole , Indiewire , @televisionary ] Follow Frank DiGiacomo on Twitter. Follow Movieline on Twitter.
Though a Paramount release, Flight did not take the trajectory of a typical studio concept plucked from an internal idea bin. Screenwriter John Gatins began working on what would become the feature starring Denzel Washington and directed by Robert Zemekis earlier last decade on his own. While still new to Hollywood, Gatins, who first hit the scene as a writer on sports pics including Summer Catch and Hard Ball , sobered up. He took that experience and his fear of flying, to quietly craft the story that would evolve into Flight . The film, which debuted at the New York Film Festival in the fall and debuted in theaters in early November has cashed in with nearly $91 million at the domestic box office on a relatively modest budget – at least for Hollywood with a big star – of $31 million. On the Awards Circuit the film has won some attention including a Golden Globe nomination for Denzel Washington for Best Performance by an Actor in a Motion Picture – Drama and he may well be on the road to a nomination for Best Actor next month when the Oscar nominations are revealed. Gatins has also received some attention including Best Original Screenplay by the Broadcast Film Critics Association and a nomination from the Image Awards. Flight ‘s plane crash makes for good imagery in a trailer, but it really serves as a set-up for one man’s personal struggle with addiction and denial, which forms the crux of Flight . Washington plays pilot Whip Whitaker, who successfully guides a plane that experiences a mid-air mishap to the ground, saving nearly everyone on board. He’s hailed for his heroism by the media, but what eventually percolates to the surface during the investigation is missing on-board alcohol and a cover-up that Captain Whitaker, was in fact, legally drunk. Whitaker is a master at concealing his insatiable drinking and cocaine use and as media attention continues to follow him, he deflects what is clearly a hastening descent in his personal life. M.L. caught up with screenwriter John Gatins about what prompted him to start writing Flight who shared the turbulence his script encountered on the way to the big screen. He shares how he segued his way into “the business” after graduating from Vassar and facing his own fears of flying while making the movie. When I first saw footage of Flight before seeing the film at the New York Film Festival, I wondered if it would be a straight-up plane crash story or if there was more to it. Obviously there is much much more to it and was curious how this came about. Was there a personal element to it? I got sober when I was 25 and that was part of it. I think I was 31 when I started writing [ Flight ] and I did it for me really, I didn’t have a boss. I wrote it on spec and I honestly didn’t think it was a movie that would ever get made. I’m a scared flyer, but was flying a lot for work and shooting in Europe. It’s a personal project I’d pick up and put down and then kept working in my normal life, trying to feed my family. It was after I wrote and directed Dreamer: Inspired by a True Story for DreamWorks that they then asked me what I wanted to do next and then I said, “Well, let me show you what I have been working on and I gave them the first 40 pages of this script and they went, ‘Woah.'” Around when was this? This was around 2004 – 2005. And they thought this was pretty heavy-duty considering I had just finished doing this PG-13 movie for them and has a very complicated central character. And it was also at a time in the business when these kinds of stories weren’t just jumping off shelves onto the screens. R-rated grown-up dramas just became anathema. People kept saying that audiences just don’t’ want to see these movies. But clearly you kept going… Yeah, it was a hard time for it and I was trying to also direct the movie. So Walter Parkes and Laurie MacDonald came on as producers with me and I continued to work on the script and I finally had a version that we could sneak to a few people in 2007. The script had some big agents respond to it and they said there was some great talent that may be interested in [the starring role], but then the writers strike came along. There were so many things happening to go against this movie, but then it all changed when Denzel Washington got his hand on the script and he wanted to meet me. He told me he wanted a bigger director than me to handle this, which was understandable I guess… Some big actors only have a few guys or gals they want to work with. Then Robert Zemeckis got a hold of the script around the same time and those two connected and then the three of us connected. For everything that had gone wrong for so many years there was a moment in time when everything went right. Bob wanted to be very collaborative with me when making the movie. He said to come to Atlanta and I got to really be there and have a creative voice in it and it really was the best of all possible worlds. Talk about how you three collaborated. Did the script evolve much while you were working with Washington and Zemekis? It was kind of great. Before this, I had only known Denzel as his characters, I had never met him. His characters have this intense presence and in life he also has this presence. He does his homework man – he really does his homework. He was really with the 2007 draft he first received, but with every new draft there was, we kept him in the loop. He’s a guy who definitely started to carry that pain around. He was putting on those shoes so to speak to play the part almost immediately. It was great because for a lot of people this is a small movie, it’s a $30 million movie that we shot over 45 days all on location. It was a bit like making the school play at times, we all rolled up our sleeves to get this done. It was a small ensemble of actors and a small filmmaking crew. So there’s something very intimate about it. Denzel has gone out of his way to give credit to the script. And it’s been really nice for me honestly since I did work so long on the movie and he recognized that. What’s on the screen isn’t much different than what’s in that ’07 draft. Bob did some really smart things making me focus on the point of view. Did that ’07 script portray Denzel’s character as so focused despite his dependencies? I’ll tell you what really struck me about the story was how functional he was at least on the outside. Of course things are going south on the inside, but after the crash he receives notoriety and credit for saving lives and despite being in various states of inebriation all the time, he is able to handle himself in such a remarkable way at least publicly. I’ll tell you a story. my guilty pleasure is the New York Post and one day while doing the domestic junket out here I was reading Page 2 and there was this whole article about this huge rock star Cardiologist in New York who was being sued by his two ex-wives and, among a lot of things, they both alleged that he was high on cocaine all the time and that he failed four drug tests at the hospital and was high 24/7. And you think this is the guy you put your life into and he’s blazing on drugs. I mean, it’s remarkable and there’s this parallel to [Denzel’s character] Whip Whitaker who is so high yet functioning and walks this tight rope. Instinctively he’s the best guy to fly that plane, impaired or not. That’s what helped to create that weird conflicted ambiguity in the plane because you’re thinking, ‘Am I rooting for this character or not?’ If I was on the plane and he saved me and I knew he was the only one who could do that, I’d think I wouldn’t care what his mind was all about at that moment. I think that functionality almost made it more difficult for his character to come to terms with the addictions he was facing… They say for most people to want to make a change they have to hit a bottom in their life. For a guy like that to be able to do heart surgeries successfully or a guy to successfully fly a jet, then people continue to skate along in life. People often don’t change unless they have to. That happens sometimes when people wake up in handcuffs, or in a hospital or in a psych ward and they say, ‘what happened?’ It’s like, well all that managing you were doing with all these issues – it ran out. Your ability to pull it off and manage it just quit on you. And he’s an amazing dude that Whip Whitaker, he can do almost anything. Was there a progression in his personality from the original scripts to the final version? Was that functionality fully there? That functionality was always there because I felt that’s the thing that makes us conflicted. I always watch war movies and I would always think that if I was in a war, I’d have to drink every day with that constant drum of anxiety because I don’t know how I’d get through that experience of knowing someone is constantly trying to kill me. The men and women overseas right now, I just don’t know how they deal with that. I think pills or booze would calm my brain… But I think it would have been so easy to go down that path of Whip just being crazed… Yeah, yeah yeah… There are so many people who function at such a high level of – work hard, play hard. You see them Monday through Friday and then you catch that person on the weekend and you’re like, “Whoa!” How did you work in the mechanics of the crash? You must’ve had to research past incidents… Oh man that was crazy, that was crazy because I’m a nervous flyer. Those NTSB records are public record and they’re pretty dense but also equally fascinating. I also spoke to a lot of pilots and they pointed me toward different incidents. That must’ve been encouraging experience helping you to overcome being nervous flyer [laughs]. It was miserable [laughs] but fascinating at the same time. Denzel said something really funny when we were on a panel and they asked him what he thought about Whip being a pilot as opposed to something else and he said, ‘It’s the most dramatic choice John could’ve made. If he worked at the post office, it wouldn’t have been that big of a deal. You wouldn’t have gotten your mail. That’s different from being in a plane at 30,000 feet that’s dropping. But the research was fascinating. You can read the black boxes and some of them are very dramatic. Zemeckis is also a pilot and flies so he has a complete understanding. He loves to fly, but I hate to fly. While we were flying to Atlanta and back he’d be like, ‘Let’s work.’ We’d literally be working on the script while on the flight talking about a plane crashing while we’re on the plane. That math is never good for me [laughs]. Was the crash in the film based on an actual accident? There are a couple of accidents that it was based on. But there was a crash off Oxnard, CA in 2000. A pilot told me to look at that and it was fascinating. Air traffic control asked them to take the plane out over [Santa Monica Bay] so as to limit collateral damage on the ground. And they did fly it inverted but they put the plane back over and lost control. It was an un-flyable plane, it wasn’t their fault. They did an amazing job. And this pilot said that had they known what was really wrong with the plane, they might have known their only recourse was to keep it inverted and descend. It was really rough. Is writing one of your first passions? You were a drama major and you mentioned that you did many things including acting when you first moved to California… I think I’ve always been a storyteller. I’m Irish and we like to tell stories and I come from a family of storytellers and in storytelling there’s an element of performance in it. Arguing for ‘air-time’ at big family events requires that performance. So being the youngest of four I felt I had to perform. My first instinct then was that I wanted to be an actor, but when I was at Vassar, it was great because it’s very academic. I read so many plays, which gave me a great foundation which I didn’t realize until I had to access that as a writer. Writing was ‘easier’ because you just write by yourself. It’s not easy, but you don’t need permission. The first script I wrote I wrote on a legal pad, I didn’t even have a computer. What was your big entrée when you first arrived in California that kept you going or encouraged you to maintain that path? I had friends from Vassar who were starting to work in the biz. We were in our mid 20s and we got together for a poker game and this guy said to me, “You’re so funny man you should write a script. I’ll pay you to write this script once you get broke enough.” So the next day I contacted him and said, “I think I’m broke enough.” And he paid me $1,000 – $500 to start and $500 to finish – to write this crazy script about a kid in high school who fakes his own suicide. And that script was sold to Disney and it started it all off. It started my whole career. It was Smells Like Teen Suicide . It was great, it got me into a lot of rooms. People wanted to meet that guy who wrote that dark, dark teen comedy. What other genres would you like to tackle that you haven’t yet? Great question… I want to do a big comedy. It’s funny when I started out, even though Smells Like Teen Suicide was a dark movie, it was a dark comedy reaching for a laugh. Then I got into doing sports movies and was on that road for awhile and there’s comedy in that too. And actually, there’s a good amount of comedy in Flight . Yeah, I’d like to go for a big comedy at some point. I’ve made a family movie, sports movies and perhaps a sort of sic-fi movie. Flight is mostly an adult like grown-up drama. Denzel said, “Look it’s an R-rated movie and there are no guns. It’s different. We don’t make these movies anymore.” But, I have an idea to write a high school movie because I’m about to have a teenager who is going into high school. I feel like I have one more young voice movie in me, so we’ll see…
We can all agree that Anne Hathaway ‘s brief but gloriously tragic turn in Tom Hooper ‘s Les Miserables earned her the enviable position as Best Supporting Actress front runner. Now you can listen to her movie-topping number “I Dreamed A Dream” online and pinpoint the exact moment when that Oscar statuette officially writes “Anne Hathaway’s syphilitic whore” on its nameplate, because all you other Supporting Actress hopefuls can just give up and go home already*. I will preface this by saying that Hathaway’s one-take, sung-through rendition of Fantine’s rock bottom lament plays better in the film when you can see the Acting with a capital A she’s doing, because singing while weeping hysterically is harder than it sounds. (We’ve all been there, right? Right?! Guys ??) Microphone drop at 3:40, y’all. And if you’re not entirely impressed based on this listen alone, remember that one time when this happened and appreciate the magic that Hathaway is sprinkling all over us by comparison. *Of course there’s a chance that Hathaway will not win the Oscar, in which case I will eat Russell Crowe’s fancy hat. READ MORE ON LES MISERABLES : TALKBACK: Who Gave The Best (And Worst) Performances Of ‘Les Miserables?’ Tom Hooper Defends His ‘Les Misérables ‘ Close-Ups & Reveals Who’s The Bigger Musical Geek: Jackman or Hathaway ‘Les Misérables’ Hits High Notes, But Also Skitters Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
