My memories of this year's Golden Globes will forever be unhappy ones, not because of the list of winners (which mostly made for a respectable line-up), but because I was couch-ridden with the same flu-like thing everyone else was fighting off last month. So I look forward to getting back out to the Beverly Hilton next year and hitting the afterparty circuit as NBC has claimed a date for the 72nd annual: January 11, 2015.
The duo will roast Hollywood for a third straight year on Jan. 11, 2015
Also: Jared Leto's heart-to-heart with heckler, and John Hurt takes on Harvey
Even for those of us who enjoy the red-carpet portion of awards season, the vacant questions and 360-degree cameras that female stars must face from the likes of E! have become a bit exasperating. But as Hadley Freeman notes, the women are beginning to fight back against this institution, with stars like Jennifer Lawrence, Emma Thompson and Elisabeth Moss making a point of rebelling against red-carpet routine, whether by photobombing fellows stars or giving the finger to the (ugh) "manicam." "We have reached peak red carpet," writes Freeman. "It's all just got too stupid and too hysterical, and there are too many savvy, funny women working in the industry to put up with this bullshittery any more, or to swallow the old line that any bad behaviour on the red carpet could destroy their career." [The Guardian]
The Oscar frontrunner's streak of prestige projects keeps going
If Matthew McConaughey wins the Best Actor Oscar next month -- and the smart money says he will -- you could forgive the guy for taking his foot off the pedal a bit, and maybe dallying in one shoddy romantic comedy for old times' sake. Instead, however, the McConnaissance is continuing unabated, as the revived Hollywood golden boy keeps signing up for one classy project after the next.
Could Richard Jewell be Jonah Hill's ticket to Best Actor recognition?
Martin Scorsese and Leonardo DiCaprio look to be going separate ways again with upcoming projects after the two have consistently collaborated on a number of projects over the last decade. With only 2011's "Hugo" as a brief reprieve, the director and star have cranked out five films since 2001 and there is surely more where that came from, but in the meantime, Scorsese's "Silence" is moving along with casting while DiCaprio has kick-started a new vehicle for his "Wolf of Wall Street" co-star Jonah Hill.
And how did he like collaborating with Christopher Nolan on 'Interstellar?'
The Grammy winner will perform his Oscar-nominated song on the show
While the "Alone Yet Not Alone" scandal has rather dominated the Best Original Song conversation since the nominees were announced, there's been some good news in the category this year -- for the first time in a while, it contains at least a couple of songs that the general public actually cares about. Top 40 hits may have dominated the Oscars in the 80s, but have largely disappeared from the race in recent years. "Skyfall" reversed the trend last year; this year, however, we have two certifiable pop hits: Idina Menzel's "Frozen" anthem "Let It Go," and Pharrell Williams' upbeat R&B track from "Despicable Me 2," "Happy."
Also: Mark Harris remembers Philip Seymour Hoffman
File this under "retirement announcements we hope are short-lived," as Kristin Scott Thomas claims that she's ending her screen career: " I cannot cope with another film. I realised I've done the things I know how to do so many times in different languages, and I just suddenly thought, I can't do it any more. I'm bored by it. So I'm stopping." Partly motivating this, she says, is the limited array of roles available to women her age: "I'm sort of, as the French would say, 'stuck between two chairs', because I'm no longer 40 and sort of a seductress, and I'm not yet a granny ... When I go to the movies, I'd rather watch people who've lived, who have gone through the mill, who've had their heart broken a million times and are still looking for love." [The Guardian]
John Turturro to receive career tribute
I'm not sure I've ever had a more purely enjoyable festival experience than I did at last year's Miami International Film Festival. The location alone obviously takes some beating, but the convivial, celebratory atmosphere of proceedings, coupled with some imaginative programming (particularly of Latin American fare unlikely to be seen elsewhere), made it rather special. Cannes may have its attractions, but a relaxed press brunch with Darlene Love, for example, is not among them.
'I will always be grateful for that front row seat to his genius.'
A day later and I'm realizing I still haven't fully absorbed the unfortunate, untimely passing of Philip Seymour Hoffman. A house full of people yesterday for a boring football game and the usual work-related stuff this morning has kept it a bit at bay ever since the news struck yesterday.
I will say I'm annoyed at the predictability of high-horse riding judgment from those who clearly have no idea what addiction entails. But that kind of finger-wagging, which we can always spot as little more than frustration on behalf of others — children, loved one, etc. — left in the wake of such a tragedy, is to be expected. It can be timed like the tides. And it's always another level of sadness over these things.
Anyway, the point is, I'm still processing. We lost a genius, and one in his prime. These were the years of amazing Phil Hoffman performances. We were in the middle of it, you see? We just left the movie an hour in, so to speak, right in the meat of the second act build. But I'm grateful for the perspective of filmmakers like Cameron Crowe, who wrote a brief, poignant remembrance of Hoffman's work on a key scene from his 2000 film "Almost Famous."
Also: Keeping the foreign-language race fair, and a weekend of sad losses
With Woody Allen under fire following the resurfacing of his estranged daughter's abuse allegations, and the "Alone Yet Not Alone" scandal leaving a bitter taste, Michael Cieply ponders the unexpected ethical issues that have entered this year's Oscar race. "By and large, Oscar voters are lucky if they can find time to see the nominated films, let alone sort through a court case or a secret military operation. But they, including actors, are increasingly being asked to do just that," he writes, before citing Roman Polanski's surprise 2002 win as an example of the Academy "[using] the awards to send a message about focusing on art, not behavior." [New York Times]