Tag Archives: awards

Sacha Baron Cohen Will Attend Oscars As ‘The Dictator’

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

‘We’re thrilled to have him,’ Academy Awards producer Brian Grazer says. By Ryan J. Downey Sacha Baron Cohen as General Aladeen in “The Dictator” Photo: Paramount Action heroes like Rambo may not give in to threats, but Oscar producers caved to “The Dictator.” Of course, it’s all in good fun. In an interview with “Extra,” producer Brian Grazer confirmed Sacha Baron Cohen will arrive at the Academy Awards on Sunday as his character from his forthcoming political satire, contrary to earlier reports. “We’re thrilled to have him and he’ll be on the red carpet, I guess, dressed as the ‘dictator,’ ” he told “Extra.” Grazer, a producer on movies like “A Beautiful Mind” and “Apollo 13,” is also producing this year’s Oscars. In “The Dictator,” Baron Cohen adds the totalitarian leader of a fictitious country to his list of alter egos, which already included Ali G, Borat and Bruno, all of whom have headlined feature films since launching on “The Ali G Show.” He played a supporting role in Best Picture nominee “Hugo” but was insistent about attending the awards show in character as Admiral General Shabazz Aladeen. Earlier on Friday (February 24), the English actor and comedian called in to the “Today” show (as Aladeen) to address his alleged ban from awards. The “Today” interview came on the heels of a video message on the website for “The Republic of Wadiya,” in which the dictator made a number of threats. “On behalf of the nation of Wadiya, I am outraged at being banned from the Oscars by the Academy of Motion Pictures, Arts and Zionists,” General Aladeen said in the video. “While I applaud the Academy for taking away my right to free speech, I warn you that if you do not lift your sanctions and give me my tickets back by 12 p.m. on Sunday, you will face unimaginable consequences.” Back in 2007, Oscar producers wouldn’t allow the actor to appear in character as Borat. At press time, a spokesperson for the Academy told The Hollywood Reporter she had not heard about the plans for Cohen for Sunday. “The Dictator” arrives in theaters May 11. The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and head to Next Movie for a printable Oscar ballot . On Sunday, tune into MTV.com at 5 p.m. ET for our two-and-a-half-hour red-carpet live stream and updates on the night’s big winners. To join the live conversation, tweet @MTVNews with the hashtag #Oscars.

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Comic Doug Benson on the Ups, Downs and Delights of Live-Tweeting the Oscars

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

The Academy Awards telecast stopped being a one-screen experience years ago. An Oscar viewing party is all well and good, but with a computer or phone nearby, a virtual theater full of people will enhance the experience from the first red-carpet arrivals to the music playing over the Best Picture winner’s speech. Yes, your friends are witty and can also fetch you a beer, but the best jokes about the winners, losers and everything in between are on Twitter. Some professionals make watching the Oscars simply worth the hours (and hours) spent. Doug Benson is one of them. A stand-up comedian and writer — including penning jokes for award shows — Benson began recording a weekly podcast called Doug Loves Movies in 2006. Movieline talked with the devoted movie fan about the fleeting art of live-tweeting cinema’s greatest night, who the best hosts are and whether the Oscars ever really pull off comedy. Are you live-tweeting the Oscars this year? How many ceremonies (Oscars, Golden Globes) have you done? I’m planning on it. As long as I can get Internet access wherever I’m watching the show. … I live-tweet every show that I can, as long as everyone is seeing it live at the same time. The Grammys are on a tape delay on the West Coast, so it’s not fun live-tweeting that when the East Coast saw it all hours before. What’s been the entertainment value of the Oscar ceremonies of the past few years? There is very little entertainment value. That’s why I live-tweet during it. To entertain myself and anyone else who might find the whole thing boring. I love movies, and I love that the Oscars honor filmmakers that do great work, but the whole thing is usually a fucking slog. The Golden Globes were so boring this year, I lost interest in live-tweeting it halfway through. Do you think the Twitter/comedian commentariat builds up the mythology of the Oscars? It makes the Oscars more tolerable, for sure. Which is good for the Oscars, I guess. When the jokes are lacking on the show, people can turn to Twitter for some laughs, instead of turning the show off and finding something of value to do with their night. What do you think about the relationship between comedy and the Oscars? Having written for several award shows, I know that banter is tough to pull off, even by performers known for their comedic chops. Because the whole setup is so artificial, and the audience in the auditorium really doesn’t give a shit about hearing jokes. They just want to win or lose and go to a party.   Should most presenters stick to non-comedic intros? That can be even more deadly than trying to be funny. When the Oscars trot out an actor to tell us how sound editing works, the home audience trots to the kitchen or the bathroom. My favorite intro I ever wrote for someone, which was actually approved and said by Jennifer Jason Leigh on the Independent Spirit Awards: “Without screenwriting, movies would be plays.” Is there anything you’re looking forward to at the Oscars this year?   Billy Crystal singing about Extremely Loud and Incredibly Close. It’s always weird to me that he sings a medley about nominated movies, even if it’s serious shit like Schindler’s List and Saving Private Ryan .   Where would you rank Billy Crystal among the past Oscar hosts? Definitely up there with Johnny Carson and Bob Hope as the best. Those guys know how to say something funny after something silly just happened, and in a self-deprecating way. I liked when Steve Martin and Alec Baldwin hosted together. I even liked the David Letterman year. A comedian is always going to be the best choice. Follow Doug Benson’s Academy Awards live-tweeting at @DougBenson . [Photo: Robyn Von Swank]

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Oscar Chat: A Conversation With Best Cinematography Nominees Jeff Cronenweth and Robert Richardson

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

The films almost couldn’t be more different: Hugo is an epic, 3-D family film that wraps us up in a warm glow, and The Girl With the Dragon Tattoo is a chilling murder mystery set in the stifling Nordic winter. Robert Richardson and Jeff Cronenweth — the cinematographers (pictured above R-L) tasked with making these respective worlds believable — will contend this weekend for an Oscar for Best Cinematography (along with The Artist ‘s Guillaume Schiffman, The Tree of Life ‘s Emmanuel Lubezki and War Horse ‘s Janusz Kaminski). Movieline spoke with Cronenweth and Richardson about their approach and style on their nominated films as well as their recognition from the Academy. What did the narrative of this film demand of you in terms of style? 
 CRONENWETH: A murder mystery in and of itself has its own set of dramatic license and techniques to implore. But with Dragon Tattoo being the first book of the incredibly detailed Stieg Larsson trilogy and set in the Swedish countryside during a particularly harsh winter, we inherited certain esthetic obligations, the most obvious one being the cold and how it affects the lives of our characters. It was imperative that we afforded the audience to appreciate that visually through quality and color of light and through sound effects. RICHARDSON: The narrative of Hugo slipped from the seed of Brian Selznick’s illustrations — in that respect all departments enhanced the reality of the world that Hugo lived within — that became the foundation of our style.

 How much did you collaborate with your director on the message of each scene? 
 CRONENWETH: Well, there is always a conversation about the impetus of each scene and the purpose of each shot within that scene. Then on the shoot day, when we actually rehearse with the cast and block the scene, we apply those discussions but stay open to discovery. RICHARDSON: Communication with Marty [Scorsese] is extremely specific — there is not a shot within his storyboards that does not have a purpose — in the same light his concept of what each scenes “message” might be is a reflection of this degree of precision — in respect to collaboration — generally it is less about collaboration of origin of concept and more about collaborating on manner and methods of achievement of his vision.

 This year, there’s a mix of digital and film among the nominees for Best Cinematography. How much does shooting on film vs. digital matter to you? 
 CRONENWETH: I still like the notion that some formats support certain stories better than others, and I like the idea that we are afforded the luxury of different story telling tools. But having said that I feel the gap between the two has closed for all intents and purposes. RICHARDSON: Digital capture and film capture both have their advantages and disadvantages. I shot Hugo on digital with the Alexa and am now in the process of shooting Django Unchained on 35mm anamorphic. I feel comfortable with either digital or film — the director and the project should determine the course of choice.

 Does this digital-film diversity among cinematographers make it a more exciting race, and how so? CRONENWETH : I think the drastically different subject matter and story styles are a more interesting conversation than the digital vs. film. Black-and-white silent-period movie, a 3-D children’s fairy tale colorful and dramatic, WWII fantasy about a horse beautifully epic and classic, a story of life shot free-flowing with available light crosscut with nature’s marvels, and a murder mystery set in the Swedish country in the middle of winter. 
 RICHARDSON: I am uncertain about this question. The product should speak for itself. I sense that perhaps you are making too much of too little. In the end (I believe) not one of the projects is not in some manner a digital collaboration — the digital intermediate currently is placed between capture and presentation — the number of screens with which to view a film capture and traditional chemical treatment is on a rapid decline — most presentations are now digital cinema and that percentage will rise exponentially — was The Artist shot on black and white? I am uncertain, but I would hazard the guess that it was shot on color film and then in post had the color removed, meaning regardless of capture most projects at some point become digitized. With that in mind I would ask if you might tell me where does digital and film begin and or end. Furthermore, what is the percentage of films that you have viewed this year that were captured on film, processed, printed for dailies and distributed on film to the cinema? Sadly, cinemas with film as the primary source are disappearing. We need to remain open to change. That does not require one to divorce the past but to respect and process both the present and the future. 

 Are there any colleagues you would’ve liked to see nominated for best cinematography this year? CRONENWETH: Newton Thomas Sigel for Drive . RICHARDSON: Far too many to list. 

 Who is accompanying you to the ceremony? CRONENWETH: My beautiful girlfriend Tyne Doyle.
 RICHARDSON: My wife, Stephanie Martin, will be accompanying me to the Oscars as she did to the BAFTAs.

 How are you following this film? What is your next project? 
 CRONENWETH: Directing commercials at the moment and reading scripts. RICHARDSON: I followed Hugo with World War Z (Marc Forster), and I am currently filming Django Unchained (Quentin Tarantino). MORE 2012 OSCAR ROUNDTABLES & CHATS Best Costume Design Best Documentary Feature Best Foreign-Language Feature

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Oscar Chat: Best Film Editing Nominee Kevin Tent on Cutting for Tone in The Descendants

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

Kevin Tent had been nominated for three ACE Eddies before winning this month for The Descendants , which the American Cinema Editors deemed Best Edited Feature (Drama). Tent’s work in the cutting room played an important role in placing The Descendants firmly in the drama category. The longtime collaborator with Alexander Payne — Tent’s other Eddie nods were for Sideways , About Schmidt and Election — says that much more comedy from the King family was shot than what we see onscreen and that removing it just felt right. In a few days, Tent will vie for the Best Film Editing Oscar for the first time. Movieline spoke with him about how the movie’s dramatic story came together, the attention from the Academy and his plans for Oscar night and beyond. How has awards season been treating you? TENT: It’s been a blast. And also a little odd and strange because, especially being an editor, you don’t usually find yourself in the spotlight. I can’t imagine what it must be like for actors like George [Clooney] . But for me, it’s all good and just like they say, after the initial shock wears off you start to think, “Wow … this is really an honor.” And it is. What was the collaborative process like on this film? TENT: Alexander [Payne] and I work very close with each other. He loves the cutting room. As he likes to say, “I shoot so I can edit.” He’s very collaborative. There’s a lot of back and forth between us. People often ask how we work with each other. It’s hard to describe. Editing is such and abstract exercise and I don’t really like to analyze our process, but what I can say is we shut the door, put our heads down and go to work. We just keep looking at the footage and trying different options. We usually agree on what are strongest performances are and build scenes around them. If something sucks we try to fix it or cut it out or do something to mitigate its suckiness. What specific decisions did you make early on to set the tone of the film? TENT: It became pretty clear to me early on that it was going to be more of a drama than a comedy. The script was written with much more humor, and much of it was shot. But as we began cutting the humor, in many cases felt forced and insensitive to the tragedy that the King family was going through. It’s not like from Day 1 we thought “let’s dump the humor.” It was a slow process. As the film evolved it became evident that the humor was becoming less important. We still needed it, of course. Otherwise we’d have an incredibly bleak movie. But we had to work to get to a sort of organic or natural balance between the two big elements of the movie — the humor and the drama. So we just kept cutting and trimming till we got to the place that is now the movie. Was there a scene or storytelling device that stood out for you as the most difficult or challenging on this film? TENT: I think as I said above getting the tone right was really a big challenge. And as always pace was an issue, especially the last third of the movie. The scene in which Matt King confronts Brian Speers at the beach house feels (to the audience) like the climax of the movie. But there was still a whole big chunk of the movie to finish. Plus we had a two story lines moving along at the same time: the mother’s death and the sale of the family’s land. The sale was much more than a subplot, and we had to keep it alive for the audience. So all that being said, keeping the pace moving was very challenging. And also making sure it didn’t move too quickly. We wanted to make sure the audience had time to absorb what was happening from an emotional perspective. I mean, they understood what was happening from a story perspective — that wasn’t complicated — but allowing them to actually feel was what we were protective of. Who is accompanying you to the ceremony? TENT: My wife and 14-year-old son are going. My wife is beside herself. She’s so excited. My son’s a little dubious about the whole thing, but I know he’s going to have a good time. How are you following this film? What’s your next project? TENT: Mr. Payne is due to start his next movie in April. Hopefully that will be our next outing. I can’t wait. MORE 2012 OSCAR ROUNDTABLES AND CHATS Best Cinematography Best Costume Design Best Documentary Feature Best Foreign-Language Feature Best Animated Feature

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Oscar Lovebirds: Justin Bieber, Selena Gomez & More

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

From Justin and Selena to Justin and Jessica, MTV News takes a look at the hottest couples from the 2011 Academy Awards. By Jocelyn Vena Selena Gomez and Justin Bieber at the Vanity Fair Oscar Party Photo: Craig Barritt/ Getty Images The Academy Awards happen to be one of the most glamorous nights of the year, filled with over-the-top acceptance speeches and crazy-expensive couture. It can also serve as the glitziest date night for some of the most famous people in the world. With this year’s Oscars only days away, we decided to take a look back at last year’s show and remember some of the most dazzling couples to hit the Oscar scene. A very pregnant Natalie Portman took the stage on Oscars night last year to accept her prize for Best Actress for her role in “Black Swan.” In between “thank you’s” for the Academy, her family and her fellow nominees, she also thanked her main man, and the father of her son, ballet dancer Benjamin Millepied. “I want to thank my parents for giving me the opportunity to work from such an early age [and] my beautiful love, Benjamin, who has now given me my most important role of my life,” she told the room. “Most importantly, my family, my friends and my love, thank you so much.” Justin Bieber and Selena Gomez looked like the young A-listers they are when they arrived at the annual Vanity Fair Oscar party, arm in arm. The night was filled with nuzzling, schmoozing and being in love. It also served as the most high-profile appearance the two had made in their time as a couple. Another Justin and his lady love also dazzled at the same bash. Justin Timberlake and Jessica Biel chilled at the party, looking stunning in high-end fashion. The two may have broken up not long after the fete, but the photo remained a reminder of their often-speculated-about romance, before they got back together — and reportedly got engaged — later in 2011. “True Blood” stars Anna Paquin and Stephen Moyer looked like the grown-up version of Justin and Selena (both guys donned formal wear and both ladies wore blood red). James Franco and Anne Hathaway may not have been romantically involved, but they were certainly trying their best to romance Oscar viewers as co-hosts. While Hathaway brought her high-energy theater-kid charm to the show, Franco opted for the type of charm we might expect from his “Freaks and Geeks” character Daniel Desario: low-key and a bit confused. Who will be the biggest couples at the 2012 Oscars? Let us know in the comments! The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and on Sunday, February 26, tune into MTV.com at 5 p.m. ET for our two-and-a-half-hour red-carpet live stream and updates on the night’s big winners. To join the live conversation, tweet @MTVNews with the hashtag #Oscars.

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Oscars 2012: Our Biggest Burning Questions

Posted on February 24, 2012 by Benny Hollywood| Leave a comment

Only time will tell just how many statuettes will ‘The Artist’ take home and whether talking puppets will grace the Oscar stage. By Kevin P. Sullivan Jean Dujardin and B

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‘Harry Potter’ Leads Nerdy Oscar Snubs

Posted on February 23, 2012 by Benny Hollywood| Leave a comment

As Academy Awards night approaches, the Talk Nerdy team reviews the biggest surprises, disappointments and favorites from 2011’s nerd films. By Josh Wigler Daniel Radcliffe, Rupert Grint and Emma Watson in “Harry Potter and the Deathly Hallows, Part 2” Photo: Warner Bros. Pictures The 2012 Oscars are upon us. The biggest night in Hollywood is set to go down Sunday, and when all is said and done, only one film will be crowned Best Picture. Of course, with only nine films in the Best Picture race, the Academy Awards have neglected to acknowledge some of the past year’s biggest and brightest gems — but geeks and genre fans know better: The nerd community enjoyed a truly spectacular 2011, as comic-book movies swarmed theaters with an astonishing level of quality in tow. Some of the year’s greatest performances came not from the likes of George Clooney in “The Descendants” or Jean Dujardin in “The Artist,” but from Michael Fassbender and Tom Hiddleston as tortured souls armed with superhuman gifts — yet neither of these men were nominated, snubbed alongside the countless other deserving individuals who dabbled in 2011’s incredible blockbuster scene. Chief among the snubs, as we’ve said time and time again: “Harry Potter and the Deathly Hallows: Part 2,” the stunning conclusion to the epic “Potter” saga. Warner Bros. campaigned hard to get Oscar love for its long-awaited grand finale, and while fans kept their fingers crossed for a Best Picture nod and Best Supporting Actor recognition for Alan Rickman, it never happened. The Academy can explain their decisions however they like, but there’s no skirting the issue: “Potter” got snubbed, plain and simple. In short, though 2011 was a phenomenal year for movie nerds all over the world, the Academy did not share our interests. They chose to not recognize the brilliant work of Andy Serkis in “Rise of the Planet of the Apes,” or honor the conclusion of one of the greatest fantasy franchises of all time in “Harry Potter.” Instead, it’s a dead heat between “The Artist” and “The Descendants,” much to the excitement of … who again, exactly? But the Talk Nerdy team knows better: We selected our biggest surprises, biggest disappointments and overall favorites from 2011’s nerdy movie offerings in this week’s latest episode. See if you agree with our picks in the video above — and if you don’t, you can always disagree with our choices in the comments section below. The MTV Movies team has the 2012 Oscars covered! Stick with us for everything you need to know leading up to the awards show, and on Sunday, February 26, tune into MTV.com at 5 p.m. ET for our two-and-a-half-hour red-carpet live stream and updates on the night’s big winners. To join the live conversation, tweet @MTVNews with the hashtag #Oscars. Related Videos Talk Nerdy 2012 Oscar Nominees Related Photos 2012 Oscar Nominees

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Drive, Fassbender, Serkis Honored at the 2nd Annual YouReviewers Awards

Posted on February 23, 2012 by Benny Hollywood| Leave a comment

The 2nd Annual YouReviewers Movie Awards aired on YouTube this past weekend, and we’ve got to say, it was quite a show! This year, our friends at ENTV played host as YouTube heavy hitters Jeremy Jahns, The Schmoes, and a host of other notables from the ever-opinionated YouTube film community presented their favorite films, performances and trailers (because, after all, this is YouTube) of 2011. If you haven’t yet, be sure to check out the full show below – we think it’s safe to say that in the never-ending glut of awards shows this time of year, there’s nothing else like it. Or you can skip to the full winners list below to see what the small-screen scene picked as the best of the big screen. 2012 YouReviewer Awards Winners List: BEST PICTURE Drive 50/50 The Girl With The Dragon Tattoo Rise Of The Planet Of The Apes The Artist Harry Potter and the Deathly Hallows, Pt. 2 Hugo The Descendants Midnight in Paris Warrior BEST DIRECTOR Nicolas Winding Refn ( Drive ) David Fincher ( The Girl With The Dragon Tattoo ) Martin Scorsese ( Hugo ) Steven Spielberg ( War Horse ) Michel Hazanavicius ( The Artist ) BEST ACTOR George Clooney ( The Descendants ) Ryan Gosling ( Drive ) Joseph Gordon-Levitt ( 50/50 ) Michael Fassbender ( Shame ) Brad Pitt ( Moneyball ) BEST ACTRESS Rooney Mara ( The Girl With The Dragon Tattoo ) Viola Davis ( The Help ) Emma Stone ( The Help ) Charlize Theron ( Young Adult ) Michelle Williams ( My Week with Marilyn ) BEST SUPPORTING ACTOR Nick Nolte ( Warrior ) Christopher Plummer ( Beginners ) Albert Brooks ( Drive ) Jonah Hill ( Moneyball ) Andy Serkis ( Rise Of The Planet Of The Apes ) BEST SUPPORTING ACTRESS Octavia Spencer ( The Help ) Shailene Woodley ( The Descendants ) Elle Fanning ( Super 8 ) Melissa McCarthy ( Bridesmaids ) Carey Mulligan ( Shame ) BREAKTHROUGH ACTOR Joel Courtney Michael Fassbender Ryan Gosling Jean Dujardin John Boyega BREAKTHROUGH ACTRESS Rooney Mara Shailene Woodley Berenice Bejo Jessica Chastain Brit Marling BEST ANIMATED FEATURE The Adventures of Tin Tin Arthur Christmas Rango Puss in Boots Kung Fu Panda BEST VILLAIN Albert Brooks ( Drive ) Voldemort ( Harry Potter ) Kevin Bacon ( X-Men: First Class ) Loki ( Thor ) Bryce Dallas Howard ( The Help ) BEST HERO Rooney Mara ( The Girl With The Dragon Tattoo ) Gosling ( Drive ) Harry Potter (Harry Potter and the Deathly Hallows Part 2) Moses ( Attack the Block ) Caesar ( Rise Of The Planet Of The Apes ) BEST SCORE Drive The Girl With The Dragon Tattoo War Horse The Muppets Harry Potter and the Deathly Hallows Part 2 BEST VISUAL EFFECTS Super 8 Hugo Harry Potter and the Deathly Hallows Part 2 Rise of the Planet of the Apes Transformers 3: Dark of the Moon BEST TRAILER The Dark Knight Rises Trailer 2 The Hobbit The Girl with the Dragon Tattoo The Avengers Prometheus MOST UNDERRATED FILM Warrior The Adjustment Bureau Win Win Hanna Attack the Block THE I’M SHOCKED IT DIDN’T SUCK AWARD Real Steel Fast Five (tie) Rise Of The Planet Of The Apes (tie) MI:4: Ghost Protocol

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Drive, Fassbender, Serkis Honored at the 2nd Annual YouReviewers Awards

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Oscar Roundtable: Meet This Year’s Best Costume Design Nominees

Posted on February 23, 2012 by Benny Hollywood| Leave a comment

As the big night fast approaches, it’s time for another of Movieline’s virtual awards roundtables. Our Oscar nominees this time are up for Best Costume Design. They are (in alphabetical order):

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Can Battleship Strengthen Rihanna’s Image, Post-Chris Brown?

Posted on February 23, 2012 by Benny Hollywood| Leave a comment

A new batch of Battleship stills show singer-turned-actress Rihanna in Navy gear manning all manner of combat machinery as the resident weapons specialist in Taylor Kitsch ‘s crew. But can her feature debut in Peter Berg’s summer blockbuster counteract the criticism she’s getting from reuniting, at least professionally, with Chris Brown? The stills (below, via Universal and Digital Spy ) hit the web at a conspicuous time for Rihanna, who was assaulted in 2009 by then-boyfriend Brown. After a three-year split, during which time Brown was sentenced to domestic violence counseling and community service and ordered to stay away from Rihanna by restraining order, the two collaborated on a pair of songs released this week. According to producer The-Dream, who oversaw the “Birthday Cake” remix featuring Brown, the move was Rihanna’s idea. “The true thing really is to forgive,” he explained to Billboard Magazine . “And … you want to believe in people.” Some celeb-watchers take the reunion as more than just a professional expression of forgiveness. “The message couldn’t have been clearer to the world,” writes Hollywood Life’s Bonnie Fuller. “We’re a couple again and we’re saying it in the strongest way that we know how — through our music.” That seems like a bit of a stretch, but whatever the relationship, many fans who supported Rihanna as she bounced back from the public fallout of the 2009 incident are understandably upset that the 24-year-old would unite on any front with her former attacker. Enter Battleship . Over a year after the assault, Rihanna was cast as Petty Officer Raikes in Universal’s naval actioner. She’d been looking to break into film already, telling MTV in 2008 that she was looking “seriously” into making her acting debut. Battleship , then, provided a prime opportunity; as Raikes, Rihanna gets to play a strong, serious-minded character involved directly in action sequences whom she’s described as “one of the guys” — as opposed to the film’s eye candy, as embodied in Brooklyn Decker as Kitsch’s love interest. That character quality alone may have been reason enough to break into a side career in acting with Battleship , but it also allows Rihanna to project an image of strength and resilience to her fans. At the helm of a gunboat or wielding assault rifles, she is seen in a position of control and dominance, the would-be executor of violence (against aliens, in this case) instead of a victim. Of course, that’s not to say Battleship will erase the image of Rihanna, battered and bruised, from our collective memories. It certainly shouldn’t, in the least. And it’s not quite a pointed personal statement that, say, a G.I. Jane or a Brave One -styled vigilante pic might be; it’s a subtle move that simultaneously eases first-time actor Rihanna into the movies in a supporting role with more seasoned actors around to do the heavy lifting. Conspicuous as it is that new Rihanna-holding-guns images were released into the world around the same time as her Chris Brown collaborations (joining a few more that were previously released by Universal), it hints at an effort to protect her image from the backlash that any Brown-related association invites. But Battleship has yet to be seen, and Rihanna, who hasn’t yet directly addressed the Brown collaborations, may yet still win back or further alienate her following in the weeks to come.

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