A Most Glamorous Night in Hollywood is Always One To Remember

The Oscars is Hollywood’s biggest night of the year. Actors, celebrities, producers, editors, writers and families from around the globe come to celebrate the many accomplishments of the year’s film industry. Running an hour and eight minutes over last night, I was not disappointed. And though viewership was down, this might be the first telecast of The Academy Awards that I truly enjoyed (Eddie Redmayne may have helped a bit in that). These are some of my most memorable moments.

1. Anna Kendrick continued to remind us why the world adores her.

Kendrick stepped on stage with host Neil Patrick Harris to remind us that she indeed has a set of pipes and a Tony nomination back it up. Both Harris and Kendrick were getting along swimmingly, when Jack Black interrupted from the audience and jumped on stage to do his bit. In the end, Kendrick threw her beloved Jimmy Choo and Black hustled of stage, allowing us to get back to the show.

2. Neil Patrick Harris/Barney Stinson kept things moving.

Though not everything he said or did was drop dead hilarious, I think Neil Patrick Harris did a great job hosting the 87th Academy Awards. He was both charming and sassy, which in turn reminded me so much as to why people love to hate/adore Barney Stinson in How I Met Your Mother. He dropped some classic lines including “Tonight we honor some of Hollywood’s best and whitest…sorry, I mean brightest” and then dropping the “Oh, now you love him” after he introduced David Oyelowo in the audience. People have been noticeable upset over the past month, noting that this is the least diverse group of nominated actors they have seen in two decades (well it has happened once more in twenty years). And though I have my own personal opinions about it, I do appreciate NPH being ballsy enough to address it. Of course there were the not so funny gags (the briefcase and Octavia Spencer…), I think he did a great job and I certainly enjoyed how he kept the show flowing.

3. Lady Gaga and Julie Andrews shared a moment that touched all hearts.

Lady Gaga came to the stage paying tribute to one of the greatest, if not the greatest musical of all time, The Sound of Music. The epic film of romance and family set in war-torn Austria is in my top ten favorite movies and is celebrating its 50th anniversary since winning Best Picture at the Oscars in 1966. Of course we all know Gaga for her outrageous outfits and poppy-techno music, but Gaga toned it down, dressing in a flowing princess ballgown and belting out in perfect tune the hits that Julie Andrews brought to life in 1965. The entire performance sent shivers down my spine and catapulted me back to my childhood and the countless Saturday nights I spent watching The Sound of Music on ABC, admiring the ever-captivating Julie Andrews. The true tears came when Lady Gaga and Julie Andrews embraced at the end of her performance. Andrews looked like she truly enjoyed the medley and was thankful for the walk down memory lane.

4. The Lego Movie got its recognition with the coolest statue ever.

Not only did Tegan & Sara with The Lonely Island kill their performance of “Everything is Awesome,” which looked like the most epic dance party to ever happen on stage, but the Oscar shaped Lego Statue helped remind viewers that The Lego Movie refuses to be forgotten. Not only that, but that statue was flippin’ awesome. Nominees that were not able to take home the actual thing, were given a Lego Oscar as a consolation prize.

5. Whiplash was snubbed the top prize, but J.K. Simmons reminded us to love the people who matter most…our parents.

Though I have been on my own personally crusade for The Theory of Everything because of Eddie Redmayne’s tour-de-force performance as Stephen Hawking, Whiplash is certainly the most overlooked movie of 2014. Miles Teller and J.K. Simmons deliver fast-paced, passionate, and anxiety-provoking performances surrounded by a wonderful and hauntingly real story. I am so happy that Simmons is getting the recognition he deserves, and wish that Teller had received more. Simmons speech was heartwarming, recognizing his wife and their “extraordinary children.” But what stood out was Simmons telling the world to “Call your mom. Call your dad. If you’re lucky enough to have a parent or two alive on this planet, call ‘em. Don’t text. Don’t email. Call them on the phone. Tell ‘em you love them.” It definitely made me scramble to my phone this evening and make sure I called the people that have supported me most throughout my life. Thanks Mom and Dad, and J.K. Simmons I guess.

6. Eddie Redmayne reminded the world what it looks and feels like to be genuinely happy.

The best actors race was the closest race The Academy has seen in years. There were some phenomenal roles, with some challenging and inspiring performances given by all five actors nominated. The sheer joy that Redmayne’s entire body emitted when his name was announced was enough to have the entire world grinning ear to ear. He was giddy, boyish, and charmingly eloquent on stage thanking his wonderful team, Felicity Jones, James Marsh, the Hawking family and, of course, his beautiful wife Hannah. He reminded the world that hard work and dedication pays off and that it is important to live in these moments, but not let them dictate you and where you go. So much humble swag, so much to admire.

7. Boy…what?

Though I think Richard Linklater’s Boyhood is a test to film-making and everything it can be, I was happy to see something other than this film take home the top prize of the evening. A directorial challenge being filmed over 12 years, the movie lacked the depth I was longing for as I watched a boy grow-up in almost three hours. The dialogue felt clunky and forced, and overall the movie felt pointless, which is that what we are to expect from life? Though Birdman was not my favorite film of the year, it definitely made me think, and I mean really think about life and what one wants to be. A cinematic beauty when it came to editing and directing, Birdman really did combine everything into one to make an magnificent and alluring film. Many people may think Boyhood was snubbed, but for me the film was easily forgotten in a group of epic stories.

8. I am happy to “Stay Weird” for Graham Moore.

Graham Moore was brutally honest in his speech, admitting to his suicide attempt at 16 when he just felt like he didn’t belong. Now, he is an Academy Award Winning Screenwriter. Moore encouraged anyone who has ever felt weird, or different, to “stay weird, and stay different.” I would say out of anyone in the night, he made the best use of his 60 seconds on stage.

9. John Legend and Common give a performance to remember for the ages.

The powerfully moving song featured in the film Selma was the musical performance of the night, bringing audience members to tears and reminding what a linguist Common is, not only as a rapper, but as a human being. Though Selma was overlooked this awards season (some blame the late release, some blame the "white" Academy, to each their own) I am glad that Legend and Common had the opportunity to show of their musical genius, while raising awareness to the fact that Selma is now. The performance was a showstopper, and along with Gaga's, I recommend everyone to watch it now.

Academy Award Winning Actor....Eddie Redmayne!

Three months ago, a friend and I walked into our busy neighborhood theatre on a foggy Saturday night to witness a film that would change my life. As I watched The Theory of Everything, I cried with profound sadness, but also with pure joy. The story of Jane and Stephen Hawking was intriguing, touching, and heartbreakingly real. As tears ran down my face and breath was taken from my lungs, I took in two astonishing performances that made my heart swell with emotion that nearly caused it to burst.

I left the theatre, my mind clouded and occupied by what I had just seen, fascinated by the story of Jane and Stephen Hawking and distracted by the visceral performances that had graced the screen. Recognizing Eddie Redmayne and Felicity Jones from other independent films, I was taken aback by the tenacity and ferociousness that these two people had while fulfilling such career altering roles. There are no words to describe their performances other than embodiment. I would go on to see the film twice more in theaters, trying desperately to have my friends see the genius that I had seen.

For three months now I have been on a quest to find a performance quite as moving as Redmayne’s, and tonight solidified why I had not. Eddie Redmayne accepted his Oscar with the same happiness and passion that he emitted while playing Stephen Hawking. His beaming smile, shaky hands, and eloquent words poured out to the billions watching The Academy Awards and the euphoria he must have felt resonates with me while I type this.

Many of my friends over the past couple of months have listened to me drone on about the talent that is Eddie Redmayne. They have put up with endless Facebook and Tumblr posts and countless tweets about my love for Redmayne and his astonishing performance. And his win tonight only shows that everything I have said is true. He is a rare talent. When you watch him on screen you can truly feel his drive and his deep appreciation for his craft. The man is a gifted actor that brings so much life to any role he plays and he should be recognized for that. That is what acting is all about.

Many may think I am insane. Maybe I am, but I cannot help but be beaming with delight. Congratulations Eddie, you have inspired and empowered many and to know that you will continue to stun the world with your charming brilliance is a gift to all. Cheers.

"Birdman," Where Fame Stifles Hopes and Dreams

Teetering between sanity and insanity, I am trying to decide whether Birdman was the most genius thing I have ever seen this year, or the most ridiculous. Was this film some uncanny way to capture life as it is today, or was it Michael Keaton’s schizophrenic break on screen? Equipped with rambunctious drum solos and daring cinematography, Birdman allows us to explore the life of fame in a different light and through mediums that we have come to love and treasure so much.

Opening up to jellyfish and the swish of the sea tide, we are instantly snapped to the cramp, out of date stylings of St. James Theatre in the theatre district of New York City. From here, director Alejandro Gonzalez Iñarritu takes us on a wild journey of human emotion and how dire the need for attention is to the human being. Iñarritu’s talent with a camera shines its absolute brightest with long tracking shots through twisty turny hallways of St. James. The shots are designed perfectly, placing us in every character’s head, getting a first hand look at what they see. If Iñarritu is trying to get us to walk a mile in someone’s shoes, he has successfully done it here. Delighting us with extreme close ups, we are given a front row seat to all the ugly that human emotion can show us; and it is illuminating, painful, and real.

Though the cinematography is brilliant and artistic, the screenwriting is subpar. The story is lost through a slew of curse words that made me feel like I was talking to a twenty year old at a bar. We get it, these characters are pissed. They want to be noticed. They want to make a name for themselves. The vile language doesn’t make me feel your pain any less or more, and honestly took away from the colorfulness of the characters. It made me forget that these characters were grown adults, with jobs. And maybe that was the point.

What made this film earth-shatteringly profound for me was its in your face message to society today. It plays with the idea of fame and notoriety like putty in its hands. It plays with the idea of how we all long for it. Aim for it. Do wild things for it. And in the end, how it eats away at us. Chews us up and spits us out. We all want to be famous. That’s why we all write, tweet, blog, Instagram, and share every little detail of our lives with the world. 

Enter Sam. Played by the wonderfully talented Emma Stone, Sam represents everything Riggan Thomas (Keaton) can’t be: calm, cool, and collected (somewhat). Sam is our generation; the young twenty to thirty year olds snapping selfies and swapping mindless thoughts through social media. Her understanding of our life is harrowing and eye-opening. Thomas, on the other hand, has lost touch with reality. He struggles to understand the way art, film and theatre work today. He longs for the same fame he once had as “Birdman”, but has no clue how to achieve such prominence again. Going back to what inspired him to be an actor in the first place, he hopes to find what he is missing, only to be slapped in the face when he finally gains his stardom through the minutiae of social medium and crazy stunts. Birdman’s look into celebrity and the idea of becoming a star is intriguing and enlightening.

I could not help but get a laugh or two from the consistent and rowdy jazz drum that was used throughout the film as score. Somewhat distracting, I thought it was an interesting example of the human psyche. Jazz music can often be bumpy, sporadic and all over the place. Thomas’ mind and thoughts throughout the film are scattered and fantastical, sometimes catching him flying around New York City or throwing objects with the flick of a finger. The jazz music can be annoying at times, taking away again from the story and the script, but it does give us another opportunity to walk in the characters shoe’s.

Keaton, Stone, and Edward Norton, who plays Mike Shiner, all deliver wonderfully reckless performances. Keaton, trying to make the comeback of the decade, loses me at some points. He in no one stunned me like Eddie Redmayne’s performance in The Theory of Everything and makes me question The Academy’s desire to nominate him for Best Actor. His performance is almost too exotic, and at times unbelievable. Stone and Norton steal the show, giving us characters that make us question life and the meaning of it. They are full of anguish, and are spiteful and mean to the point where their dialogue is so delicious you want to sink your teeth into it. I basked in the few moments we shared with them and drank it up like sunlight on a cold winter day.

Birdman was in no way revolutionary. Lost through the cacophonous drums and poor language, Iñarritu’s cinematography managed to shine through, giving us some respite. And though the premise and idea was there, my mind was too busy playing catch up with all the oddities that at some point, I just gave up and hoped for the film to be done so I could head home to my bed. I do appreciate the interesting take on fame though. I think I will go tweet about it now.

Captivating Performances, “The Imitation Game”, Leaves Minds Thirsty for More

We are upon another British invasion. Actors from across the pond are flying to the United States to dazzle us with their breathtaking performances on screen this year, and all one can do is watch in amazement. The Imitation Game is yet another jewel that has been presented to us filled with British talent. The film gives us a glance into Alan Turing’s world, the British mathematician who’s impeccable code breaking skills led to an early end to WWII.

There were strong performances across the board. Benedict Cumberbatch filled the shoes of the socially awkward and arrogant Alan Turing, who despite his rough personality, is as charming, as he is smart. Cumberbatch delivers a solid performance, capturing a man so many know so little about. He dishes up a wonderfully dry, and often brash sense of humor that makes film watchers twinge and chuckle. Extremely strong willed, and filled with emotion, Cumberbatch opens up our eyes to a world so few of us know about, and leaves us wanting to explore more of Turing’s world.

Along with Cumberbatch, Keira Knightley, delivers a stunning and driven performance as the brilliant Joan Clark. Often times Knightley gets caught in period roles and struggles to become a convincing character, but she brought life to Joan Clarke, the witty, charismatic, kind-hearted counterpart to Turing’s haughty personality. It was a pleasure to watch Cumberbatch and Knightley convey two people, despite certain circumstances, hold such vehement love for one another. It was touching to see the support Clarke provided Turing and it spoke volumes to the human heart.

Though the acting was superb, the storyline often became muddled with flashbacks and flash-forwards, and often threw off the flow of the movie. Though Turing’s past played large importance to his interest in mathematics and code breaking, it was lost through time hops. It was a struggle to keep up with where they were in breaking the Nazi code “Enigma” and also the timeline of friendships. At times the storyline seemed rushed, and felt as if they were only giving a brief overview of what really happened. Recalling the fact that Turing at one point in the film is asked to become a Soviet spy, it is unclear if he ever fulfilled that role and also how it led to the ending of his engagement with Joan. When you are covering as much time as 30 years, it can be difficult to supply a clear explanation of everything that happened in a man’s life, so the film definitely had its challenges.

Alexandre Desplat again enchants us with a rich score that leaves a haunting aura around the film. Heavy and dark, the orchestra hums with deep bass and rhythms, while alluring us in with taunting strings. The score is beautifully written and plays a vital role in the film, constantly reminding us the dark days that plagued Europe during WWII. Though often low and dreary, the higher strings provide a sense of urgency, or anxiety. What was most remarkable where the times that Desplat left silence in the film, giving the audience a chance to catch their breath and admire the artistry before them. The score is emotional and poignant, leaving a deep sense of longing mixed with a desire to fulfill our inquisitive minds.

Director Morten Tyldum grants us the opportunity to discover a world that for many years was forbidden. Alan Turing for many is still an enigma. Tyldum breaks down some of that wall and cracks open that brilliant mind, allowing other hungry minds to follow an impulse. To investigate the man behind “Enigma.” Keep exploring my friends, keep exploring.

The Imitation Game is in theaters now. Watch trailer here.

Superb, A Hidden Gem, "Birdsong" Will Make Your Heart Sing

Under appreciated and superb should define Eddie Redmayne’s performance in the 2012 BBC two-part television drama Birdsong. Redmayne’s acting is spot on as the love-lost and heartbroken, Stephen Wraysford, who is reliving his romantic escapades with the alluring and alluding Isabelle Azaire (Clémence Poésy) during the summer of 1910 in Amiens, France.

Based off the novel of the same title by Sebastian Faulks, the film interweaves the past with the present by offering flashbacks of Wraysford’s passionate relationship with Isabelle and his current life in the first World War. Wraysford uses his wild and vivid imagination to his advantage as a means to escape the horrifying war that has haunted and hardened him.

Beautifully directed by Philip Martin, the war scenes are picturesque and accurate, depicting perfectly the mazing trenches and barren land that was once decorated landscape, ravaged by war. Martin offers stunning contrast throughout the film. Wraysford’s flashbacks give way to bright and optimistic beauty compared to the desolate and matte feelings of World War I. Everything from costume to location is enchanting, yet realistic.

But Martin is far from the real showstopper. Redmayne dominated his performance, displaying such lust, love, loss and heartache. Using few words, Redmayne captures a million with just one glance at Isabelle. His performance is passionate and emotional. Whether he is captivatingly seducing his paramour or protecting his troop, Redmayne acts with fervor that should be revered. Though the character arc could have posed a challenge when filming out of sequence, it proved to be a feat Redmayne could conquer. Capturing with finesse the boyish charm of a young and enamored Wraysford, to a bitter, tight-lipped lieutenant during the war; recognition is in order for the young man’s acting abilities.

The story itself is enthralling because it is this fiery love story encapsulated by this treacherous war that took millions of young men’s lives during the early 1900s. The scenes are exquisitely woven together like a handmade tapestry, giving us the perfect blend of romance and scorn. The heart goes from feeling so warm it might burst to quickly emptying every bit of blood it might have had left, leaving you empty and hoping something soon will come along to reinvigorate your soul. It is a tale of relationships and how the best one’s get you through the toughest times. 

Jack Firebrace (Joseph Mawle) and his undying love for his ill son are just another great example of how relationships truly are the fuel driving this film. Firebrace and Wraysford find their stories intertwined all the way to the end. And even though it is never clearly defined, the two of them find a deep appreciation and admiration for each other. The friendship helps to remind viewers that Wraysford still, deep inside, has a heart and Firebrace has someone to lean on in a time of need, finding an odd comfort in Wraysford. The two men find something to live for in each other, which is an extraordinary gift.

Maybe written off as another boring period drama, or because it was a part of Masterpiece Classic, is why people refuse to check this film out. Yes, it is a part of public broadcasting, but that is no reason to turn the other cheek. This film is a hidden gem with formidable acting by Redmayne and Mawle, as well as wonderfully directed by Martin. It is a beautifully written and performed tale that will leave your heart swelling so much it will ache.

Witty, Charming, Fantastic! Three Cheers for "Obvious Child"

The other night I had the opportunity to divulge in Obvious Child, a romantic comedy starring Jenny Slate and written and directed by Gillian Robespierre. This witty, biting, and absolutely out of the ordinary romantic comedy is by far my favorite I have seen in 2014. Complete with crude fart jokes delivered with relaxed ease from Slate, I found myself listening to an hour and 23 minutes of my own laugh track.

The film follows young comedienne, Donna Stern, who spends her nights dropping raunchy and socially inappropriate jokes at a local night spot and her days packing up the book store she works at because it is going out business. All of this comes upon her break-up with her boyfriend, which is dealt with with lots of wine, some horrible comedy, and a one-night stand.

What is so great about this film is that it speaks to today’s generation in such honest means of comic relief. As much as we want to deny that many nights are spent drowning sorrows with bottles of red wine or in a dark dingy bars with subpar beer, we can’t. We often escape many pains through alcohol, or sex, or both. It might be something that we are ashamed of or love, that I will let you decide, but this film does a great job at remaining candidly charming and obnoxiously clever in the midst of keeping twenty year old’s real and funny, when we can be most annoying.

Slate’s character, Stern, is just looking for stability in comedy, at work, with family, and through life. She is faced with some tough decisions. The toughest coming with her shocking, unexpected pregnancy after her one night stand with Max (Jake Lacy). One part that had me bursting with laughter is when she tries so hard to recall what exactly the condom was used for that faithful night. The scene is brutally honest and completely hits home to how I will often try and recall moments when I was foolish. 

Stern handles the situation with casual ease as she understands that she is unable to take care of a baby at this point in her life and opts for the abortion which is set for none other that the infamously overrated Valentine’s Day. Though some might chastise the film for its lackadaisical approach to abortion, I applaud it. Often a taboo subject, we get the opportunity to see a women exercise the right that is given to her and it is refreshing. Robespierre pushes boundaries by on top of that, turning this challenging decision into a comedic romp. Applause all around!

Though the film finishes in classic “rom-com” fashion, it doesn’t spare us any laughs along the way. Slate gives a delicious performance that makes one want to jump on the stage and give her a hug right in the middle of her set. Thank you for this refreshing take on life as a twenty something. Thank you for finding ways to push boundaries. And thank you for again reminding me I am not the only loser out there.

Watch the trailer for Obvious Child here.

Five Reasons to See "Theory of Everything" This Season.

1. It is a raw, emotional, and triumphant love story.

The Theory of Everything explores the intensely supportive and remarkable love story of Stephen and Jane Hawking, the famed Cambridge physicist and his first wife. It explores the the romantic high points and devastating low points of their other worldly love. Many know Stephen Hawking, the professor, but what came as a surprise to me was this incredibly strong and determined women who made Hawking’s world a possibility. I had not heard anything about Jane until I saw the movie, and afterwards I had this insatiable desire to fly to Cambridge and meet her personally. The movie may not follow their relationship to a chronologically tee, like is depicted in Jane’s memoir Travelling to Infinity: My Life with Stephen, but it captures the raw emotion and strong desire of two brilliant people and their passion for life and each other.

2. Eddie Redmayne and Felicity Jones give performances of a lifetime.

I am certain every major newspaper, online news source, and anything that can print words for people to read are raving as much as I am about the performances that Redmayne and Jones fulfill. There are no other words to describe it except “embodiment.” From Jane’s sturdy and quiet demeanor to the chronicled deterioration of one of the world’s most brilliant minds, I was swept into the Hawkings’ world for 2 hours, and left feeling like I had made two new friends. Their sheer embodiment led me on a roller coaster of emotions from happiness to love to disappointment to joy to anger to frustration to the utmost sadness and longing. They very much deserve every award they are nominated for in this upcoming season.

3. Director James Marsh took it and owned it.

Not only did he cast two of the best leads, he beautifully wove together a magical love story that made most people in relationships question their love. Marsh’s use of vibrant, yet different color palettes along with the theme of circles throughout the film make my heart leap with joy. It is so aesthetically pleasing that you almost want to weep the entire time at the pure beauty of it. Though I have not had the opportunity to see anything else he has directed, I can only expect that the themes will wrap up just as nicely as in Theory. By far my favorite thing is his use of a Super 8 camera to capture what are quaint and delightful family moments shared by the Hawkings’. They weave in and out of the film, connecting the past with the present, the Hawkings with the universe. It is beyond lovely.

4. Johann Johannsson’s score though…

Almost like Marsh’s use of the Super 8, Johannson’s score captures the spirited highs and painful lows of the Hawkings’ life together and tells their story through strong, uplifting strings and melancholy piano riffs. The music starts off cheery, bright to depict the feverishly intelligent and still healthy young Stephen Hawking, but as the music moves throughout the film we get slower, deeper tones to show the deterioration Stephen’s health as well as their marriage. The score is stunning and rightly captures these two incredible people and their heartwarming story.

5. Not your typical Romance film.

Though I keep ranting and raving about how romantically enlightening this tale is, it is in no way your typical romance. As we all know now, Jane and Stephen are no longer married. They did stay together for 26 years, but alas their marriage crumbled under the weight of fame and a desire for something more. Both remarried, Stephen to his nurse Elaine Mason (later divorced) and Jane to choir director Jonathan Hellyer Jones. At first thought this was incredibly heartbreaking to me. I wanted these two individuals to be triumphant in all aspects of life. But that was me fictionalizing two very real people. I think the lines that hit me the hardest where when Jones’ said, “I have loved you. I did my best,” because it slapped me back to reality. These characters are real people, with real challenges and real emotions. I can’t put them into my neat box and hope they stay together for romance sake. This movie showed us real people and how they tackle tough issues. It was refreshing, heartwarming, and devastating all at once, but above all it was a satisfying journey into the mind’s of two phenomenally “out-of-this-world” people.

The Theory of Everything is playing now in the U.S., click here for trailer.