Sunday, February 24th, 2013 marked the celebration of the 85th Annual Academy Awards. Following a very exciting year in film, this year’s Academy Awards was a show filled with comedy, dancing, music, and emotional acceptance speeches from some of Hollywood’s finest. Oscar host Seth MacFarlane gave audiences a taste at his style of humor while targeting several Hollywood figures throughout the night, and as always, there were several expected award winners as well as a few surprises.
The historic Kessler Theater, located in the heart of North Oak Cliff, is hosting one of the most dynamic and vivacious live jazz performers of all time. Arturo Sandoval, born in Cuba and a protégé of the legendary jazz master Dizzy Gillespie, has had a remarkable career. Nominated for 16 Grammy awards and the recipient of 6, Sandoval has played for millions at the Oscars performing with Celine Dion, at the Grammy Awards with Justin Timberlake, as well as the Billboard Awards with Alicia Keys.
Last week, YouPlusDallas paired up with the talented Mr. James Faust, Artistic Director for the Dallas International Film Festival and the Dallas Film Society, to talk Oscar picks. The 84th Annual Academy Awards aired Sunday night, so we’re backtracking to see just how well Mr. Faust picked the winners.
Let’s talk about Sacha Baron Cohen’s inane publicity stunt on the red carpet at this year’s Academy Awards. He made the interwebs buzz long before the nominees even set foot in the Kodak Theatre – by dumping what appears to be some sort of flour mixture on Ryan Seacrest.
The red carpet is a prime place to pull the ultimate prank, especially when viewers are sitting at home with their smart phones, tablets and laptops ready to tweet, retweet, post and repost the first flawed moment they see.
Baron Cohen completely took advantage of this; but was it necessary? Perhaps for D-list actors; however, did any of you see Sweeney Todd: The Demon Barber of Fleet Street? Baron Cohen may traditionally rely on the whacked-out shenanigans of Brüno and Da Ali G Show, but he is a true talent, and doesn’t need to send anyone’s twitter feed in to a frenzy by ruining Seacrest’s shoes.
If anything, the above video solidifies what a classy guy Seacrest truly is.
Angelina Jolie is (to some people) super talented and stunningly beautiful. She also has, despite popping out three kids, a svelte physique that looks good in virtually any red carpet gown, especially the black Versace she donned yesterday at the 84th annual Academy Awards.
Jolie presented a couple of awards at the Kodak Theatre, arriving at the microphone and striking a pose, her right leg making its Oscar debut to millions of viewers before the Academy Award winner even cleared her throat to speak.
This was a pretty bizarre move. Yes, your dress has a slit. Sure, you have gorgeous gams. Why you gotta rub it in our faces, Ange?
The above photo, a true work of art, is how Oscar viewers collectively felt upon seeing Angie’s leg rear its kneecap from its usual hiding place.
At the 84th annual Academy Awards, Octavia Spencer won the Oscar for Best Supporting Actress for her role in The Help. Last night, plenty of Oscar winners accepted their awards nonchalantly; but let’s be real, if you’re winning an Oscar, you should be on the verge of tears and/or passing out. Unless you’re Meryl Streep. The quality of the above video is less than awesome; regardless, Spencer’s enthusiasm and shock shine through, the way one should appear when accepting such an incredible award.
The nominations for the 84th annual Academy Awards were announced today, and while Hugo stole the show quicker than a thief on roller blades, we’d like to pause for a second and chitchat about one film that is ever-deserving of the Academy’s admiration: Midnight in Paris.
You may remember, the Woody Allen film was on retainer last year at West Village’s Magnolia Theater for months on end. Like ramen noodles to a college student, it was a film buff’s staple.
Once, upon gushing my love of said film to a friend, she friend remarked, “I hated that movie. It was too cerebral.” If that’s how she felt about it, it’s probably best she hated it. This film is for a cultured palate, one the craves the refined tastes of Gertrude Stein, Cole Porter and Salvador Dali (and therefore requires prior knowledge of the aforementioned culture-shapers), not those who believe a solid screenplay consists of the lead actor/actress searching for love only to realize it has been right in front of them the entire time. Because that’s never been done before.
This is Woody Allen‘s 41st film. He writes his films himself, and directs them with wit and grace. I consider him a treasure of the cinema. Some people take him for granted, although “Midnight in Paris” reportedly charmed even the jaded veterans of the Cannes press screenings. There is nothing to dislike about it. Either you connect with it or not. I’m wearying of movies that are for “everybody” — which means, nobody in particular. “Midnight in Paris” is for me, in particular, and that’s just fine with moi.
Nominated for four Academy Awards including Best Picture, Art Direction, Directing, and Writing (Original Screenplay), Mr. Allen’s film deserves every inch of these four poetic nominations.
Welcome, film fans of Dallas! For the next week we will enthusiastically debate which films, actors, actresses, and directors should be holding Oscars when the 83rd Academy Awards airs on Sunday, Feb 27 on ABC. You can read my post, then add your own comment or send me an email and I’ll post it for you. We also have two semi-qualified movie buffs weighing in via our Academy Award video series. We begin with Best Picture.
The list of nominees: Black Swan, The Fighter, Inception, The Kids Are All Right, The King’s Speech, 127 Hours, The Social Network, Toy Story 3, True Grit, Winter’s Bone. Here is my luminous, dazzling insight: Black Swan — mix evil and artsy with ballet, feathers, and bloody-eyed lesbians and I’m in. But too weird for Best Pic. The Fighter — Loved every Bahston brahwlin’ minute. Has character arc, courage, incredible performances from the entire freakin’ cast. A contenduh. Inception — brilliant. Maybe too brilliant? Too much CG FX for me. The Kids Are All Right — too trendy and PC. Does not deserve nomination. The King’s Speech — bloody marvelous. Damn those Royal Shakespearean thespies for making st-st-st-stuttering heroic! 127 Hours — If this wins, I’ll cut my arm off. The Social Network — Socially awkward nerds defeat rich, entitled face jocks … how can this NOT win? Toy Story 3 — 37,000 times better than “Up” (what is it with SAD animated films?), but too heart-wrenching for The Reidster. True Grit — Only deepened my Coen Bros. crush; best dialogue of any western ever. Gutsy, transcendent remake. Winter’s Bone — My personal favorite on so many levels. No other film pulls you in like this one. Indie film-making at its very best. Oscar goes to: The Social Network. Your thoughts?