Emmy Fashion.

As usual we won't bother with Emmy discussions (although yay Kate Winslet and Gwyneth Paltrow!) so let's move to the only relevant thing about these TV awards, the fashion!

After the feathered disaster she tried to pull off in last year's show, Kristen Wiig was effectively stunning in this chocolate Zac Posen gown. The color and cut are perfect for her! Why couldn't the Best Comedy Actress nominees learn from her?

Other than Amy Poehler and Edie Falco, who were sartorial perfection (even if Edie has squeezed this cut too much), the others were just so dull. Laura Linney, seriously, I was rooting for you to win for The Big C but I'm glad you lost just because this dress is just so argh!

Elizabeth Moss has done the nude thing a gazillion times before but there is no arguing with this stunning Marchesa design. The fit is perfect, the simple makeup and hair are quite adequate but I wonder why is it that she always looks so much older? I can totally see Helen Mirren being more youthful in this.

Oh Paz de la Huerta, you are quite something, aren't ya?

Julie Bowen confessed how special she felt about wearing Oscar de la Renta and well, she should! This is the sexiest look she's pulled off in any red carpet! 

Yow-fucking-za! Poor Sofía Vergara might not get too much credit for her tremendous comedienne abilities (people still think it's all about the accent) but she gets her due with clothes. This stunning Vera wang coral dress more than makes up for the tacky yellow creation she chose last year. Gotta love how she let her hair down and recalls Rita Hayworth.

Say whatever you want but Kelly Osbourne rocked the hell out of this J. Mendel gown. Remember when she was a goth rock heiress with pink hair? We've come a long way and good for her!

Aubrey Plaza is the epitome of cute in this custom made Juan Carlos Obando white dress. The hair is lovely, the simple makeup works wonders and those bracelets give her a true wonder woman edge.

The always lovely Jayma Mays pulls off this Zuhair Murad pink concoction in a way Zooey Deschanel couldn't pull hers off (TOO princessy!) the layers and delicate ruffles could've been extremely tacky but the joyous redhead gives them a pinch of sass to make 'em work.

Dianna Agron was stunning last year in Oscar de la Renta which only makes this weird Roksanda Ilincic gown a weirder choice. Sure she wants to play the "I'm young but can dress up like a grown up" game, but

where last year's lace creation was timeless, this one makes her look like Elizabeth Moss' mom. She's hiding the boobs, covering the neck and the cut makes her look as big as Melissa McCarthy. Odd choice...

Armana Privé makes dresses that work just as well on red carpets and during space travel. Sometimes their flashy, usually stunning creations make your jaw drop to the flloor, however in the case of Julianna Margulies, they make us wonder two things: has Julianna been watching Frida too much and will tiny Lady Gagas hatch out of those crystal eggs attached to her bodice? 

A few weeks ago, Nathaniel and I held a battle of sorts, between Veda and Mildred Pierce. Opinions were torn on said occasion - apparently people dig Kate's rigid structural touches while I favored Evan Rachel Wood's adventure sense - and now we are given the perfect way to hold an ultimate showdown. Both ladies have gone with the same designer: in this case Elie Saab. While Kate went for the same red everyone else was wearing (and loosened up her hair obtaining a fresher spirit), her onscreen daughter went for a dramatic black siren gown, complete with a retro do and beautiful smoky eyes. I'm sorry Mildred but Veda has once again upstaged you. Both look astonishing and while Kate is beautiful, Evan remains iconic.

The retro beading and the draped cut of Christina Hendricks' dress totally reminded me of the deco decadence of Boardwalk Empire. The curvaceous beauty is stunning in this custom made Johanna Johnson dress.

If you weren't tired of Claire Danes and her Templen Grandin shtick already, you should've seen all the tweets that mentioned it yesterday...anyway, I too am tired of Danes but this Oscar de la Renta was just too pretty to pass up. The mosaic-like design might've been too Miss Universe but Claire pulls it off quite beautifully. No?

The most controversial look of the night came at the service of the amazing, Emmy winning Gwyneth Paltrow. While some found her midriff baring Pucci to be quite tacky and way too much for an awards show (have they forgotten the white one that showed her butt last year?) I thought it was an astonishing bold choice. When I saw it, it reminded me of a sexy version of the Oscar de la Renta Tina Fey wore last year and as the night passed it had flashes (no pun intended) of Nicole Kidman's wonderful gowns in the last part of Moulin Rouge! 

The see-through-ness might've been too much for some (I saw some people calling it offensive, yet overall she managed to class it up with simple hair, gorgeous makeup and effortless charm. Where do you stand on this Pucci choice?

Horrible Bosses ***

Director: Seth Gordon

Cast: Jason Bateman, Jason Sudeikis, Charlie Day

Kevin Spacey, Colin Farrell, Jennifer Aniston

Julie Bowen, Jamie Foxx

Since time immemorial, humans have rebelled against authority figures or despotic members of their hierarchy. From entire countries and cruel monarchs, the arrival of seemingly uniform democracy made it tougher for those in power to abuse their subjects, which is why this model is now mostly used in two places: school and work.

These are the two instances when not even being right gives you any benefit, how can you argue first, with a system that will give you and education and provide a job, and then with the very workplace you were trained to excel at?

Insurrection in either of these two means you either become an outcast or starve to death, what to do then when the situations get simply out of control?

Horrible Bosses is not the answer to the complicated ethical conundrum exposed in the previous paragraphs but as an accurate portrayal of men-children caught in a cycle of senseless torture, it might be one of the cleverest movies to come out of the harsh economic times the world has been through.

Essentially the film shows us the ghastly work situations of three men whose bosses specialty is creating living hell on Earth.

There's Nick Hendricks (Bateman), an executive whose boss, Dave Harken (Spacey), tortures him with the promise of a promotion that never materializes, while chiding him for being two minutes late, making him work inhuman hours and tricking him into drinking booze early in the morning.

Kurt Buckman (Sudeikis) is a pleasing accountant who has to deal with his exemplary boss' (Donald Sutherland) son, Bobby Pellitt (Farrell), after the elder Pellitt dies of a heart attack. Bobby not only loathes Kurt, he's also a cocaine addict who en joys the company of Asian escorts.

Last, there's dental assistant Dale Arbus (Day) whose perfect life with his fiancee (Lindsay Sloane) is only threatened by the insatiable libido of his boss Julia Harris (Aniston) who tries to coerce him into having sex with her.

The three poor chums, who also happen to be life long friends, decide that the only way to make this stop is to eliminate the very source of their trouble: they must kill their bosses. They hire the shady looking Motherfucker Jones (Foxx) to be their "murder consultant" and then set out, a la Hitchcock, to kill each other's bosses. This of course leads to a large amount of hilarity and truly ridiculous situations.

It's funny to think about it but the very premise of this movie would've had a different genre connotation a couple of decades ago. The very notion that an everyman is set to kill his boss just screams noir and sends images of Bob Mitchum in a trench coat and a cackling Dick Widmark pushing ladies down a staircase.

How and when murder became hilarious instead of horrifying? That is the question. Then again, not really because what Horrible Bosses aims at goes beyond "let's make fun of these goofballs' failed murder plans", it actually makes us wonder how deep in crap we are that we have begun to think of lives as commodities we can bargain and deal with.

In a way then, this film is just as horrifying as anything that might've sprung from the WWII-bruised minds of the greatest film noir masters. The film explores the notions of survival in a very immature way (it's either murder or $20 handjobs for these guys...) but perhaps unintentionally it taps into a very primal conundrum which director Gordon (if you haven't seen his Donkey Kong documentary, what are you waiting for?) handles with dexterity and much needed grace.

Despite its rooting in the Judd Apatow school of immature adult men coming to terms with existence, Gordon seems to find a voice of his own and delivers the hilarity with politically incorrect, almost passive aggressive darkness; the very name of Motherfucker Jones calls for a whole essay on the blaxploitaition movement, and as much as Gordon tries to pretend he's just another comedy director, his movie references and twisted homages tell us that he's a filmmaker to watch. You don't see Hitchcock, Danny de Vito and Kiss Me Deadly thrown in together into a single reference so frequently, do ya?

If there is one thing the film fails at is establishing why these guys need to be friends in the same place, something noir-ish would've been more benefited from the pros of anonymity, heck the very name of Strangers on a Train says it! So why do we need to know they are members of this boy club? Do they allow other members? it would've been interesting to see how Gordon developed his characters under the stress of unfamiliarity.

Other than that, the film shines for its excellent portrayal of hard economic times, the refusal to grow up and you haven't lived until you see, the usually too-good-to-be-true, Jennifer Aniston spraying Charlie Day's crotch trying to figure out whether he's cut or not. She gives the comedic performance of the year!