Style Sunday.

Yow-za! How on earth does Helen Mirren get hotter with age is something that will always defy logic, science and common sense. She is the epitome of sexy in this curve hugging Dolce and Gabbana dress. The color is impeccable and requires the person who wears it can pull it off (I'm looking at you Golden Globes' MiWi). Mirren's hair contrasts beautifully with the powerful hue and her choice of accessories is flawless.

Do you have any theories on how and why Mirren looks so amazing?

Short Takes: "One Day" and "The Debt".

Even if it never makes justice to the book it's based on (the eponymous novel written by David Nicholls), One Day is an often delightful romance powered by pure star wattage and a great - albeit slightly gimmicky - concept. The film follows the relationship between Emma (Anne Hathaway) and Dexter (Jim Sturgess) over the course of two decades, but does so by showing what they do on the exact date they met. We see them grow from awkward college graduates to decently rounded adults; they survive destructive relationships, family tragedies, divorces, career and country changes etc. and the one thing that remains constant throughout is their love for one another.

Perhaps the novel's reach is a bit too ample to turn it into a small romantic comedy (it certainly would've been wonderful as a miniseries that took longer to flesh out Em and Dex better) because as it is, we often have a hard time knowing why the characters do what they do. Even if they never become mere archetypes - he of the fun-loving lothario and she of the obsessive control freak - we feel cheated, like we could've benefited more from knowing what they do on the dates we don't get to see.

Directed with a precise hand by Lone Scherfig (who follows the joyful style she used in An Education) the film has moments of marvel as well as scenes that seem to drag forever. Fortunately most flaws can be overlooked because of the performers. Sturgess is unusually passive, almost lacking in the exuberance needed to turn Dexter into a character we could hate and then fall in love with, however his quiet performance reveals that Dexter is a man who never knows himself fully (his scenes with Patricia Clarkson, who plays his mom, are violently delicate).

Hathaway - who sadly never mastered the required British accent - is all smiles and wide eyed contempt as Emma. As usual, Hathaway grabs a simple character and layers it with the kind of star quality few performers can add (only Julia Roberts lights up the screen with the same ease) while keeping a deep humanity that reaches to you beyond the screen. The film is by no means perfect (although the ending might just leave you weeping) but it works because of its utter sincerity. Few films nowadays are so straightforward about breaking your heart.

You gotta give it to John Madden: he's one versatile filmmaker! His constant traveling of genre to genre (he directed Shakespeare in Love and Proof) have turned him into the equivalent of a studio era director, who worked under producers and got little input to create his own authorial signature. With that said, he doesn't hit the mark in his espionage thriller The Debt, a decade spanning film that follows the lives of three former Mossad agents from their first big mission, to the fame it eventually brings them.
The spies are played by Jessica Chastain, Marton Csokas and Sam Worthington as young agents trying to catch a deranged Nazi surgeon in the 1970s. Their mature versions are played by Helen Mirren, Tom Wilkinson and Ciarán Hinds respectively (in a quite good casting decision). They all come together in their old age to settle a secret they've been living with for decades, the film then uses flashbacks to show us what marked and bonded them forever.
The main issue with the film is how Madden tries to trick us, only to then reveal how entire scenes are nothing but lies. This never works because in the film's context - which most certainly isn't an artistic exercise a la Antonioni - all the scenes seem to be fact based. His idea of toying with perception is indeed respectable but the execution is sloppy and often causes confusion (did we see right or were we dozing off mid-screening?).
Mirren is fantastic as usual but the best in show honor goes to Chastain who plays her character with an angsty vitality one would only attribute to someone like, well, Mirren. She conveys such a damaged past that we only have to see in her eyes to understand where she's coming from and why she's doing what she does. Few performances are this magnetic and exciting, anyone looking for a new action heroine, take note.

Grades:
One Day ***
The Debt **½

Style Sunday.

Va-va-holyfuck-voom! Helen Mirren keeps defying reason and gravity and gets hotter by the second. She's a seductive vision in this blood tinted Michael Kors dress. Gotta love she accessorized with a simple brooch which makes the dress look absolutely regal.

Apparently Annie wants to play Kate Middleton in a movie and of course it makes total sense, I've been saying it ever since the future Queen was thrown on our faces for the first time, heck she even played her in SNL but anyway, Annie has a huge advantage going into Kate and that is her love of Alexander McQueen. This stunning sheath proves that few people can carry the house's eccentric elegance with the grace Anne does.

Think Annie will be good as Kate?

Style Sunday.

As part of her book tour, the gorgeous Gwyneth Paltrow wore this stunning Rachel Roy dress. The buttery yellow is truly mouthwatering and her simple makeup and hair give her a very accessible look. As if she truly wanted to teach you how to cook!

The Camilla Skovgaard structural heels are magnificent too, especially the chocolatey tone and sexiness of the peep toe.

After her Dolce mess at the Oscars I'm thrilled to see Scarlett Johansson is once again showing her best assets. This simple Roland Mouret dress and nude color heels are the epitome of spring style: effortlessly sexy.

My god this woman is so cool!

Nobody but Helen Mirren (and maybe Gwen Stefani and Sarah Jessica Parker) could make a Dolce & Gabbana leopard print dress look this fierce when paired with a leather jacket!

Her hair and sexy clutch make you think she rode to this red carpet in her vintage Harley too.

Which of these is your fave look?

The Other Best Actress Curse.

Natalie Portman's Best Actress Oscar win was inarguably the highlight of the Oscars; but, as I cheered about her triumph something else struck me. With the assurance that Black Swan would definitely not win the Best Picture award, Natalie was perpetuating a Best Actress curse no one talks about: the Best Actress Oscar is the only award their respective movies get.

Think about it, during the last decade (and we could even go all the way to 1999 when Hilary Swank first defeat Annette Bening) only two movies have won another Oscar besides Best Actress and only one of these movies won Best Picture (Million Dollar Baby).

Compared to the fact that movies that win Best Actor have 8/11 in the "more than one Oscar" statistic, we really might be onto something here, right?

Let's take a year by year look:

(I also noticed Best Actresses like this fabric and color...)

2000 - Best Actress - Julia Roberts for Erin Brockovich (Wins 1 - Nominations 5)

Best Actor - Russell Crowe for Gladiator (Wins 5 - Nominations 12)

One Best Actress nominee (Ellen Burstyn) was the sole nominee for her film.

2001 - Best Actress - Halle Berry for Monster's Ball (Wins 1 - Nominations 2)

Best Actor - Denzel Washington for Training Day (Wins 1 - Nominations 2)

One Best Actress nominee (Renee Zellweger) was the sole nominee for her film.

2002 - Best Actress - Nicole Kidman for The Hours (Wins 1 - Nominations 9)

Best Actor - Adrien Brody for The Pianist (Wins 3 - Nominations 7)

One Best Actress nominee (Diane Lane) was the sole nomination for her film.

2003 - Best Actress - Charlize Theron for Monster (Wins 1 - Nominations 1)

Best Actor - Sean Penn for Mystic River (Wins 2 - Nominations 6)

Three Best Actress nominees (Keisha Castle Hughes, Diane Keaton and Charlize Theron)

were the sole nominations for their respective movies.

2004 - Best Actress - Hilary Swank for Million Dollar Baby (Wins 4 - Nominations 7)

Best Actor - Jamie Foxx for Ray (Wins 2 - Nominations 6)

Two Best Actress nominees (Annette Bening and Catalina Sandino Moreno) were the

sole nominations for their respective movies.

2005 - Best Actress - Reese Witherspoon for Walk the Line (Wins 1 - Nominations 5)

Best Actor - Phillip Seymour Hoffman for Capote (Wins 1 - Nominations 5)

One Best Actress nominee (Felicity Huffman) was the sole nomination for her film.

This is also the only year when all the acting winners were their films' only wins.

2006 - Best Actress - Helen Mirren for The Queen (Wins 1 - Nominations 6)

Best Actor - Forrest Whitaker for The Last King of Scotland (Wins 1 - Nominations 1)

One Best Actress nominee (Penélope Cruz) was the sole nomination for her film.

Curiously this year four Best Actor nominees were their film's sole nomination.

2007 - Best Actress - Marion Cotillard for La Vie en Rose (Wins 2 - Nominations 3)

Best Actor - Daniel Day Lewis for There Will Be Blood (Wins 2 - Nominations 8)

This is the only year when all Best Actress nominees were accompanied by other nominations.

2008 - Best Actress - Kate Winslet for The Reader (Wins 1 - Nominations 5)

Best Actor - Sean Penn for Milk (Wins 2 - Nominations 8)

One Best Actress nominee (Anne Hathaway) was the sole nomination for her film.

2009 - Best Actress - Sandra Bullock for The Blind Side (Wins 1 - Nominations 2)

Best Actor - Jeff Bridges for Crazy Heart (Wins 2 - Nominations 3)

One Best Actress nominee (Meryl Streep) was the sole nomination for her film.

Which brings us to Natalie Portman. Out of her film's five nominations she was the only one who even stood a chance of winning. After the Academy found ways to not love Black Swan as much as other organizations had (denying it Score, Screenplay and Costume nominations) it became clear that if Portman lost the movie would go empty handed.

This strange phenomenon would be less significant if it wasn't because it establishes something everyone keeps saying to no avail: Hollywood doesn't offer women interesting roles.

7/10 Best Actor winners during the past decade where in Best Picture nominees, with women it was just 5 and as obvious as it is that The Blind Side really didn't need another Oscar, what then about the editing in The Hours? Or Black Swan's breathtaking cinematography?

For that matter was Gladiator a better movie than Erin Brockovich?

The fact that Oscar voters just feel the need to reward one category out of this actresses' films might be saying that they think they were the only worthy thing in their films and that their award will be enough for the whole movie. But again, why wasn't Monster nominated for Best Makeup for example (when at least 70% of Charlize's performance is owed to that).

This would seem less conspicuous when measured against the number of Best Actor wins that often seem to provoke "en masse" vote for other categories.

Speaking of this, out of Meryl Streep's 13 Best Actress nominations, she's been the sole nomination for 5 out of these occasions. What is this really saying about Hollywood? Am I seeint too much into this blockade of opportunities for Actresses? When's the last time a Best Actress carried an entire Best Picture as opposed to having a film about men winning the top prize?

If we examined this we would run into even fewer cases where this happened which would include: Gone With the Wind, Mrs. Miniver, Annie Hall, Terms of Endearment, Driving Miss Daisy, The Silence of the Lambs, Shakespeare in Love and Million Dollar Baby.

Eight out of 83...hmm maybe I'm not being paranoid right?

If so what can this mean for filmmakers making movies about women? Let's be honest, in other years films like The Blind Side, Winter's Bone, The Kids Are All Right and to a lesser degree Black Swan would've never factored in the Best Picture race and movies about women competing for the main prize would be out of the question.

So young filmmakers of the world if you want to win a Best Picture Oscar make biopics about disabled men! Stay away from Amelia Earhart! Oh wait, that already happened...

What do you think about this? Do you think actresses will eventually be leading forces behind Oscar winning movies? If Meryl hasn't been able to do it, what are the chances of less beloved actresses ever achieving this?

Crush of the Week.

So. Damn. Sexy.

Red **½

Director: Robert Schwentke
Cast: Bruce Willis, John Malkovich, Morgan Freeman, Helen Mirren
Mary-Louise Parker, Brian Cox, Ernest Borgnine, Karl Urban
Richard Dreyfuss, James Remar

Red has got to be one of the most fortunately cast unfortunate movies ever made. When you got the likes of Bruce Willis, John Malkovich and Helen Mirren starring in a graphic novel adaptation you expect it to be brilliant or at least guilty pleasure.
The truth is that Red is none, it's more of a by-the-numbers thriller that under-uses its fascinating cast.
Willis stars as Frank Moses, a former black-ops CIA agent who's pulled out of retirement when agency members begin hunting him for a mysterious reason.
All he knows is that whatever's going on has to do with a secret list compiled by a reporter and that he has to keep an eye out to save Sarah (Parker) the phone operator he's developed a crush on.
Trying to put the pieces of the puzzle together he visits old friends including his mentor Joe (Freeman having more fun than he seems to have had in years), paranoid Marvin (a scene stealing Malkovich) and former wetwork agent Victoria (a sexy, luscious Mirren).
The movie then uses them in an assortment of situations that never achieve the kind of twisted lunacy you could get from having Helen Mirren and John Malkovich shoot machine guns together.
For all of its call to insanity and rebellion the film actually plays it very safe. It's always a delight to watch actors at the top of their game and when the veterans surprise you, it's also great to see Urban get some time in the spotlight, his turn as obsessive agent William Cooper is all kinds of wonderful. The one missing link in the cast is Parker who is totally miscast here, her part called for someone who played the part fully and gave herself to the insanity of it all, in the vein of Madeline Kahn in What's Up Doc? while Parker here seems selfconscious.
There's really not much to elaborate on Red without making it sound like it's a movie that should've delivered brilliance and without taking away the few merits it does have.

SAG Nominations.

Outstanding Performance by a Cast in a Motion Picture
An Education
The Hurt Locker
Inglourious Basterds
Nine
Precious

Outstanding Performance by a Female Actor in a Leading Role
Sandra Bullock, The Blind Side
Helen Mirren, The Last Station
Carey Mulligan, An Education
Gabby Sidibe, Precious
Meryl Streep, Julie & Julia

Outstanding Performance by a Male Actor in a Leading Role
Jeff Bridges, Crazy Heart
George Clooney, Up in the Air
Colin Firth, A Single Man
Morgan Freeman, Invictus
Jeremy Renner, The Hurt Locker

Outstanding Performance by a Male Actor in a Supporting Role
Matt Damon, Invictus
Woody Harrelson, The Messenger
Christopher Plummer, The Last Station
Stanley Tucci, The Lovely Bones
Christoph Waltz, Inglourious Basterds

Outstanding Performance by a Female Actor in a Supporting Role
Penelope Cruz, Nine
Vera Farmiga, Up in the Air
Anna Kendrick, Up in the Air
Diane Kruger, Inglourious Basterds
Mo’Nique, Precious

Indie Kick-off.

The Spirit Awards for independent film have announced their nominees today. Thus they kick start the happiest time of the year: awards season.
Among their top nominees are:

BEST FEATURE

“(500) Days Of Summer”
“Amreeka”
“Precious”
“Sin Nombre”
“The Last Station”

BEST DIRECTOR
Ethan Coen, Joel Coen, “A Serious Man”
Lee Daniels, “Precious”
Cary Joji Fukunaga, “Sin Nombre”
James Gray, “Two Lovers”
Michael Hoffman, “The Last Station”

BEST SCREENPLAY
Alessandro Camon, Oren Moverman, “The Messenger”
Michael Hoffman, “The Last Station
Lee Toland Krieger, “The Vicious Kind”
Greg Mottola, “Adventureland”
Scott Neustadter, Michael H. Weber, “(500) Days Of Summer”

BEST FIRST SCREENPLAY
Sophie Barthes, “Cold Souls”
Scott Cooper, “Crazy Heart”
Cherien Dabis, “Amreeka”
Geoffrey Fletcher, “Precious”
Tom Ford, David Scearce, “A Single Man”

BEST FEMALE LEAD
Maria Bello, “Downloading Nancy”
Helen Mirren, “The Last Station”
Gwyneth Paltrow, “Two Lovers”
Gabourey Sidibe, “Precious: Based on the Novel Push by Sapphire”
Nisreen Faour, “Amreeka”

BEST MALE LEAD
Jeff Bridges, “Crazy Heart”
Colin Firth, “A Single Man”
Joseph Gordon-Levitt, “(500) Days Of Summer”
Souléymane Sy Savané, “Goodbye Solo”
Adam Scott, “The Vicious Kind”

BEST SUPPORTING FEMALE
Dina Korzun, “Cold Souls”
Mo’Nique, “Precious”
Samantha Morton, “The Messenger”
Natalie Press, “Fifty Dead Men Walking”
Mia Wasikowska, “That Evening Sun”

BEST SUPPORTING MALE
Jemaine Clement, “Gentleman Broncos”
Woody Harrelson, “The Messenger”
Christian McKay, “Me and Orson Welles”
Raymond McKinnon, “That Evening Sun”
Christopher Plummer, “The Last Station”

For a complete list of nominees click here.

I'm particularly thrilled about Gwyneth Paltrow and James Gray getting in for "Two Lovers", I was sure it would be one of those movies everyone forgets existed come awards season.
No Joaquin Phoenix? That's got to be a joke though...

State of Play **1/2

Director: Kevin Macdonald
Cast: Russell Crowe, Ben Affleck
Rachel McAdams, Jeff Daniels, Robin Wright Penn, Helen Mirren
Jason Bateman, Viola Davis, Michael Berresse

A research assistant working for congressman Stephen Collins (Affleck) dies mysteriously. A man and a pizza deliverer are shot by an unidentified gunman.
Before you can say Clark Kent, Washington Globe reporter Cal McAffrey (Crowe) has found links between both incidents as well as a corporate conspiracy involving senators, sex scandals and hitmen.
Based on Paul Abbott's magnificent miniseries for the BBC, director Macdonald finds himself trying to deliver six hours worth of material in two streamlined hours; with results that often thrill, but never fulfill.
The succession of events is rapid and keeps you interested in the action, especially because new evidence/leads arrive by the minute and for this the film essentially achieves its mission of being one of the only adult thrillers delivered so far this year.
The cast is phenomenal, even if they don't really push their craft too much. Crowe is always fascinating to watch, he inhabits McAffrey in such a way that you never doubt he's been a reporter for almost two decades.
McAdams as ingenue blogger Della Frye brings a sense of girl scout perkiness that flies well with Crowe's more established macho ways (romance between them is never hinted, but there is sexual tension all the time).
Mirren plays editor Cameron Lynne and the role is a walk through the park for her, it requires her just being commanding and elegantly offensive. Wright Penn, who really needs to get herself a leading role, brings a moving sense of despair playing Stephen's cheated wife.
Daniels is wonderful in a limited role, as is the always fascinating Davis (she gets one miserable scene here!). The only inadequate piece is Affleck, who thinks playing a congressman requires him to frown and overuse his squared jaw.
The screenplay remains taut and the changes that have been made from the miniseries actually work (for the most part), there are still some lose ends and some rather Hollywood-esque plot twists (a deranged hitman goes all Terminator on Crowe in the final, unnecessary, showdown).
But mostly the film suffers because it fails to follow one of the guiding rules of journalism; it doesn't choose an angle.
It wants to be about everything, about current politics, about Iraq war profits, about the decease of printed media (which should've been the angle to pick!), plus each of the characters represents a particular point of view.
Cal is all about respect for the the story, Della believes in morality and "the right thing", Cameron thinks about money and company losses and there is just so much going on that the whole movie feels as a work in progress.
Those who can, should stick to the miniseries, those who have not seen it will probably enjoy this movie with all and its typos.