At first glance these pictures of Rihanna walking through the airport are pretty damn awful, she looks like the nineties vomited all over her, but upon further inspection I notice a little hooker-ish stockings and garter combination peeking out at me. Not bad. I’m not sure it’s enough to make me enjoy these pictures the way I’d like to, the orthopedic shoes don’t really bring the whole thing together, but what do I know. I’m just a simple man who enjoys looking at celebrities in sexy outfits…. This is not one of those moments.
The Writers Guild of America gave out its annual awards on Sunday night, bestowing its hardware to the year’s most accomplished film and television scribes… whose work was developed and produced under WGA rules and conditions, which disqualified Artist writer-director (and Oscar frontrunner) Michel Hazanavicius among a few others, but whatever. Congrats to all! FILM Original Screenplay : Midnight in Paris, Written by Woody Allen; Sony Pictures Classics Adapted Screenplay : The Descendants, Screenplay by Alexander Payne and Nat Faxon & Jim Rash; Based on the novel by Kaui Hart Hemmings; Fox Searchlight Documentary Screenplay : Better This World , Written by Katie Galloway & Kelly Duane de la Vega; Loteria Films Paul Selvin Award (Presented to that member whose script best embodies the spirit of the constitutional and civil rights and liberties which are indispensable to the survival of free writers everywhere): The Help , Written by Tate Taylor TELEVISION Drama Series : Breaking Bad , Written by Sam Catlin, Vince Gilligan, Peter Gould, Gennifer Hutchison, George Mastras, Thomas Schnauz, Moira Walley-Beckett; AMC Comedy Series : Modern Family , Written by Cindy Chupack, Paul Corrigan, Abraham Higginbotham, Ben Karlin, Elaine Ko, Carol Leifer, Steven Levitan, Christopher Lloyd, Dan O’Shannon, Jeffrey Richman, Brad Walsh, Ilana Wernick, Bill Wrubel, Danny Zuker; ABC New Series : Homeland , Written by Henry Bromell, Alexander Cary, Alex Gansa, Howard Gordon, Chip Johannessen, Gideon Raff, Meredith Stiehm; Showtime Long Form – Original : Cinema Verite , Written by David Seltzer; HBO Long Form – Adapted : Too Big to Fail , Written by Peter Gould, Based on the book written by Andrew Ross Sorkin; HBO Comedy/Variety : The Colbert Report , Writers: Michael Brumm, Stephen Colbert, Rich Dahm, Paul Dinello, Eric Drysdale, Rob Dubbin, Glenn Eichler, Dan Guterman, Peter Gwinn, Jay Katsir, Barry Julien, Frank Lesser, Opus Moreschi, Tom Purcell, Meredith Scardino, Scott Sherman, Max Werner; Comedy Centra [via Awards Daily ]
Elizabeth Smart is a married woman. “To be in one of her favorite places with her family made for a dream wedding. It’s been an absolutely beautiful day,” her spokesman, Chris Thomas, said of her wedding to Matthew Gilmour. “She is positively radiant. And Matthew couldn’t be happier.” Congratulations to the newlyweds! Smart, 24, exchanged vows with Gilmour, 22, in a private ceremony on Saturday afternoon in Hawaii. The couple had been dating for about one year. The happy couple will go on their honeymoon at an undisclosed location before returning to Salt Lake City, Utah, to begin their married life together. Smart, who was kidnapped
Last summer’s Cars 2 marked a notable footnote in the history of Pixar Animation , just not a good one; despite opening to the studio’s sixth-highest worldwide take to date, the sequel to 2006’s Cars earned middling reviews, prompted critics to deem it a commercial cash-grab, and eventually – maybe most shockingly, given the studio’s track record – became the first Pixar film not to nab an Oscar nod for Best Animated Feature since the category was inaugurated. Could it be, as Pixar producer Lindsey Collins suggests, that Cars 2 was Oscar-snubbed because of anti-Pixar backlash? Speaking with press today in Phoenix, Arizona for John Carter , which she produced for longtime Pixar collaborator Andrew Stanton, Collins assessed why Cars 2 was overlooked in favor of five other animated films ( A Cat in Paris , Chico and Rita , Kung Fu Panda 2 , Puss in Boots , and Rango ). “The fact that [ Cars 2 ] was a sequel — in a way it’s funny, because obviously from a franchise standpoint people love sequels,” Collins explained. “And certainly from a franchise standpoint Cars 2 did insanely well, such that we can’t even count it as a good metric to tell us whether or not to do sequels.” Sequel status aside, Collins surmised a larger reason was working against the John Lasseter-directed pic, which was the first Pixar film to earn an overall “rotten” score on Rotten Tomatoes. “I think it had the fact that Pixar has dominated going against it,” she added. “At a certain point there was going to be somebody who was going to take the fall a little bit. It was going to be like, ‘Eh, we don’t like that one.’” Then again, Cars 2 ’s nomination miss could also be chalked up to the relatively deep field of animated films in the running for Oscar this year – many of which surprised Collins and defied her own expectations of the competition. “I see every single one of these things because my kids drag me to them all, and to me it felt like God, there are some great animated films this year. I actually had one of those, ‘There’s two hours of my life that I’m never going to get back’ [thoughts], and then you walk out like, ‘Actually, that was quite good!’” Among the “great pictures” not spawned from Pixar that Collins had praise for? “I loved Rango ,” she admitted. “There were actually some great pictures this year.” As for the cold critical reception and accusations of crass commercialism Cars 2 received, Collins maintains that Lasseter “truly, truly loves” the sequel — and Pixar, she says, supports the films its stable of directors want to make. “John loves that world, he loves those characters. We got accused of being very commercial with it and it’s kind of funny, it’s so ironic because if you’ve met John Lasseter there’s not a disingenuous bone in that man’s body.” Follow Jen Yamato on Twitter . Follow Movieline on Twitter .
‘The Descendants’ and ‘Moneyball’ seem to be leading the race, but who will take home gold? By Kevin P. Sullivan Brad Pitt in “Moneyball” Photo: Columbia TriStar Woody Allen has dominated the race to decide the year’s best screenplay, winning the Golden Globe for “Midnight in Paris,” but when the Academy Awards split up the category into Adapted and Original, the former proves much harder to predict. Based on critic and guild awards, the competition for Best Adapted Screenplay comes down to two films: “Moneyball” and “The Descendants.” Each has won significant prizes in the past few months, so the category could result in one of the night’s few genuine surprises. Here are our predictions for Best Adapted Screenplay: Who Will Win : Alexander Payne, Nat Faxon and Jim Rash for “The Descendants.” Unfortunately, this will be the film’s consolation prize in a night dominated by Jean Dujardin and “The Artist.” Without all of the hype surrounding Michel Hazanavicius’ silent film, the story of a soon-to-be widower in Hawaii would be the odds-on favorite to take Best Picture and Actor. True to his reputation, Payne and his co-writers crafted a subtle, sad and touching film that keeps you laughing the entire way through. He has proven himself to be one of our most consistent auteurs. And although Aaron Sorkin and Steven Zaillian’s screenplay for “Moneyball” deserves its spot as a front runner, Sorkin’s win for “The Social Network” only happened a year ago. Who Should Win : Bridget O’Connor and Peter Straughan for “Tinker Tailor Soldier Spy.” Straughan and his late wife O’Connor faced the challenge of not only adapting a beloved novel, but one that had been previously adapted into a beloved miniseries. In transforming John le Carr
Here is a new-ish 60-second bit of viral video that I wouldn’t mind installed in my living room: The first minute of every James Bond film, played on one screen divided into 22 parts. You won’t be able to take your eyes off it. As a bonus, find an older, longer complement that may finish the mind-blowing job commenced by the more recent video. Also: You’ll need full-screen and — if you’re at work — headphones for maximum effect. Turn it up! [Via Grantland ]
You know that when two of the most respected pundits in all of Oscardom argue (within days of each other!) for curtailing both the epic Academy Awards season race and the ceremony in which it culminates, patience for all this crap is wearing thin. With that in mind — and also considering that the “race” for most of these categories ended weeks or months ago — who’s up for an Oscar Index lightning round? (The entire staff at Movieline’s Institute for the Advanced Study of Kudos Forensics raises its hands.) OK, then — to the Index! The Final 9: 1. The Artist 2. The Help 3. The Descendants 4. Hugo 5. Moneyball 6. The Tree of Life 7. Midnight in Paris 8. The Daldry 9. War Horse Though we cannot rule out any of these underdogs’ mounting a behind-the-scenes charm blitz before Academy polls close next Tuesday, or the implications of the reminder that no movie about movies has ever won Best Picture , The Artist ‘s triumph at last weekend’s BAFTA Awards only tightened its seeming lock on the Best Picture Oscar. Still, let’s hear it for The Descendants , blazing the media afterburners for a desperately needed uptick. ( The Help , by comparison, got a forlorn-looking electronic billboard .) Also, don’t look now, but somebody actually dared to write thoughtfully about The Daldry . Not a minute too soon! Anyway, yes, Steve Pond , we’re all with you: Let’s just end this farce already. The Final 5: 1. Michel Hazanavicius, The Artist 2. Alexander Payne, The Descendants 3. Martin Scorsese, Hugo 4. Terrence Malick, The Tree of Life 5. Woody Allen, Midnight in Paris While the BAFTAs nudged Hazanavicius ever closer to Oscar glory and Sasha Stone contemplated the beneficiaries of a potential split vote — which is really the most that the pundits and campaigners engineering an anti- Artist backlash can hope for at this point — only Allen received a truly needle-moving endorsement this week. Ladies and gentlemen, I give you Nick Jonas : “[F]or directing, I chose Midnight in Paris because Woody Allen is my favorite. He’s awesome.[… T]here would be a Woody Allen film on the tour bus every now and again. There’s always a Woody Allen movie on.” Now you know. The Final 5: 1. [tie] Viola Davis, The Help 1. [tie] Meryl Streep, The Iron Lady 3. Michelle Williams, My Week With Marilyn 4. Rooney Mara, The Girl With the Dragon Tattoo 5. Glenn Close, Albert Nobbs “I hope we can all agree that when the Oscar conversation involves actresses as massively gifted as Meryl and Viola we all win,” wrote Nathaniel Rogers of the juiciest race going. “If only we could have a tie!” Haha, fine for now, but NO . Don’t give the Academy any ideas; it’ll totally screw up my Oscar-party ballot. That said, it’s quite a conversation, with the BAFTAs and the Berlinale’s gala tribute tilting momentum back Streep’s way. But if we’re to believe that the continued dissemination and discussion of these events among awards observers and the media cognoscenti are really the factors that persuade Oscar voters (and I guess we are to believe that, rightly or not — otherwise, what are we doing here?), then wouldn’t it follow that the continued dissemination of Davis’s boundless class, intellect and talent on the campaign trail would either match or supersede Streep’s own carefully cultivated hype? Take this incredible appearance that Davis and Help co-star Octavia Spencer recently made on Tavis Smiley’s show, an interview that’s been covered here , there and everywhere [transcript via The Carpetbagger ]: “I want you to win,” Mr. Smiley said, “but I’m ambivalent about what you’re winning for.” Ms. Davis was direct. “That very mind-set that you have and that a lot of African-Americans have is absolutely destroying the black artist,” she said. “The black artist cannot live in a revisionist place,” she added. “The black artist can only tell the truth about humanity, and humanity is messy. People are messy. Caucasian actors know that. We as African-American artists are more concerned with image and message and not execution,” she said, “which is why every time you see your images they’ve been watered down to the point where they are not realistic at all.” “My whole thing is, do I always have be noble?” she continued. “As an artist, you’ve got to see the mess.” The Academy has never really given any indication of having taste that would or could be moved by a case like that. But if its members in the actors branch in particular do have that taste, and they can hear her voice above the noise, then Davis may yet be the actress to beat. For now, meanwhile, it’s just too close to call. In other brief news, Mara got another profile-boosting close-up while Close — who’s facing such delightful headlines as ” Glenn Close: Next Queen of Oscar losers? may as well ask to just be awoken when it’s Feb. 27. Tough world. The Leading 5: 1. Jean Dujardin, The Artist 2. George Clooney, The Descendants 3. Brad Pitt, Moneyball 4. Demi
Here is Kim Kardashian for her MARCH 2012 ALLURE COVER SHOOT …..Fuck she’s the worst.. She talks like Paris Hilton…in a way that makes me want to punch her in her ethnic monster face…… What we learned about Kim Kardashian in this video….other than that she’s got big tits and manages to squeeze her dumpy body with smoke and mirrors into looking kinda worth fucking…..even though I think everything is worth fucking is: -She loves “Mixing like High Fashion with Low Fashion”…. -That she’s “Kinda a mix”… -That she’s “Armenian and needs all the help she can gets”….. -That she feels the most beautiful “In full hair and make-up”…. Awesome….insight into her life changing…nobel peace prize deserving…vapid cunt world… The highlight in all this other than her tits is that they interviewed the make-up artist who didn’t admit that she used all the movie make up magic … she just played it cool to keep her working in the industry…. Either way….fat tits…good times…. WATCH HER SUCK OFF A BLACK DUDE IN A VIDEO THAT MADE HER FAMOUS ENOUGH TO GET AN ALLURE SHOOT
Here is Kim Kardashian for her MARCH 2012 ALLURE COVER SHOOT …..Fuck she’s the worst.. She talks like Paris Hilton…in a way that makes me want to punch her in her ethnic monster face…… What we learned about Kim Kardashian in this video….other than that she’s got big tits and manages to squeeze her dumpy body with smoke and mirrors into looking kinda worth fucking…..even though I think everything is worth fucking is: -She loves “Mixing like High Fashion with Low Fashion”…. -That she’s “Kinda a mix”… -That she’s “Armenian and needs all the help she can gets”….. -That she feels the most beautiful “In full hair and make-up”…. Awesome….insight into her life changing…nobel peace prize deserving…vapid cunt world… The highlight in all this other than her tits is that they interviewed the make-up artist who didn’t admit that she used all the movie make up magic … she just played it cool to keep her working in the industry…. Either way….fat tits…good times…. WATCH HER SUCK OFF A BLACK DUDE IN A VIDEO THAT MADE HER FAMOUS ENOUGH TO GET AN ALLURE SHOOT
Break out the $5 bubbly and tuxedo tee-shirts: the 2nd Annual YouReviewer Awards are a mere day away, and our friends at ENTV are rolling out the red carpet as some of the biggest names on YouTube honor the year’s best movies. The YouReviewer Awards, hosted by YouTube film critic superstars Jeremy Jahns and The Schmoes , are the only by the people, for the people film awards on the Internet. Fellow cinephiles Catherine Reitman, Grace Randolph Chris Stuckman, among many others, will present awards at the event, and the winners will be decided by the YouTube community — all 800 million monthly unique users strong. Don’t miss a second of the action — subscribe to ENTV today to catch the awards when they premiere tomorrow evening, and sound off on the results with the rest of the YouReviewer community.
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