Tag Archives: Chris Colfer

Ricky Gervais: Golden Balls

Thank God for Ricky Gervais, even if Ricky is an athiest.

Gervais, as he did last year, relentlessly skewered any pretense of dignity that some think the event has. Although it has been elevated to major award status, the fact remains that it’s just one more opportunity for Hollywood to pat itself on the back and ensure global domination of its main export, the American film. So widespread is its reputation for bribery, favoritism and hero-worship that even Robert DeNiro took several shots at the HFPA when receiving its highest honor.

I had to laugh when reading reports this morning chastising Gervais for being irreverent and mean-spirited, and I was astounded to see that some didn’t even find him funny. Are you kidding me? Aside from a couple of good podium moments (David Fincher, Jane Lynch) and two good introductory bits (Robert Downey Jr. and the always-gold Tina Fey/Alec Baldwin combination) the show was an insufferable snore-fest. When he was off-screen for close to an hour, the show dragged. There were no huge upsets in the film categories (Paul Giamatti and Melissa Leo being the closest thing to surprises) and as usual the attendees were more interested in socializing between announcements than paying attention to the proceedings. If they’re not focused, why should I be?

Ah, but when Gervais was at the podium, they had to focus, because he’s fearless; you never know what he’s going to say and when. Are people really upset that he inferred that Mel Gibson, Charlie Sheen and Robert Downey Jr. have had personal issues? Was poking fun at some of the turkeys in a film resume really that insulting to a famous actor? And the joke about the omission of Jim Carrey’s performance in I Love You Philip Morris was brilliant; a one-two punch that savaged the voting board for its inconsistent temerity regarding homosexuality and launched a dig at pushy Scientology salesmen Tom Cruise and John Travolta

Also not nominated: I Love You, Philip Morris. Jim Carrey and Ewan McGregor. Two heterosexual actors pretending to be gay. Sort of the complete opposite of some famous Scientologists then…My lawyers helped me with the wording of that joke.”

Most of the celebrities seemed to get it; Downey countered with a great quote (“Aside from the fact that it’s been hugely mean-spirited, with mildly sinister undertones, I’d say the vibe of the show is pretty good so far, wouldn’t you?“) and even long-suffering Office doppelgänger Steve Carell dutifully played the fall guy for what must be the hundredth time. Only the HFPA President seemed truly miffed – or maybe his comic delivery just sucks – but I think he has bigger problems than a temporary insult most people will forget faster than they forgot his name. Perhaps those who didn’t laugh prove the old adage that “the truth hurts“, because the Sex In The City actresses are long in the tooth, Cher is not a hot commodity in 2011, and Tim Allen, nice guy that he is, doesn’t have a resume like that of Tom Hanks.

But there were some painful moments, too. I love Robert DeNiro, and few actors have had the kind of career he has assembled (even discounting most of the past decade). But anyone who has seen him on Saturday Night Live knows that he is abysmal when reading cue cards, especially when it is comic lines obviously written by someone else. It started awkwardly enough, dove into some racist territory and ended with a fairly creepy reference to Megan Fox. Within the speech there were some pretty great barbs deflating the HFPA, but it was as painful to watch as…well…Little Fockers, for one.

The biggest surprises of the evening were on the TV side of the fence; 30 Rock going home empty-handed, Modern Family losing to Glee (when their sophomore seasons have been such polar opposites, quality wise) and the lovely but absent Laura Linney grabbing the honor for The Big C. I was thrilled that Chris Colfer won for Glee; they handed him the ball this year and he really ran with it. Ditto Katey Sagal – not only finally getting noticed for her amazing work on Sons of Anarchy, but getting to take home the award.

The Observer from Fringe alongside Edgar Winter

So how did I do? Seven out of ten, but missing on three biggies. I guess the best movie can’t direct itself, but I think Nolan’s film was a superior effort. Loved seeing humble Colin Firth win, although if he stuttered during his speech that would have been much funnier. And I’m thankful that Natalie Portman won but was surprised by Paul Giamatti’s win, although he’s always good for a great speech, even when they censor the first ten seconds of it. The censors were uneven with their cut-offs and their music cues, but what the hell, I’ll be back next year to watch.

If the HFPA has even one-tenth the balls that Gervais does, so will Ricky.

The list of nominees and winners is here.

Here’s a link to a great page that lists the major category winners for the Critic Associations and provides a schedule for (and links to) all of the award ceremonies. Next up are the BAFTA nominations on Tuesday, with the Academy Award nominations the week after.

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Glee Whiz

Not with a bang, but a whimper…

I should have known better than to have been too jazzed to see the cast of Glee take on Rocky Horror. Like many, I fell for the promo clips and well-distributed cast photos and falsely assumed that they would really take a…um…bite out of the classic musical. And when the show opened with those lips and almost a full take on “Dammit Janet“, I thought maybe they were going to really pull out the stops this time. It’s not like there is a shortage of great songs in that show – hell, they’re all great.

But sadly, the sappy melodrama that is Mr. Schuester dragged the whole thing down into the mess that is his character’s personal life. I’m not certain what the motivation is behind that character arc, but what was once a sympathetic and likeable character has quickly become a wimp, a loser, and finally, a cad. If they’re trying to tell us that even an adult can suffer like a high school student, stop – we get it. Lately when Jane Lynch isn’t shredding the room with her Sue Sylvester quips, there are only two reasons to watch the show these days, and they’re named Kurt and Brittany. Chris Colfer and Heather Morris never fail to hit it out of the park. More of them, please, before it’s too late.

Frankly, the best moment of the night was having the camera pan past Barry Bostwick and MeatLoaf (for those who don’t know, they played Brad and Eddie in the film). A more courageous show would have left it right there, a perfect sight gag, much like the camera panning by The Three Stooges in fireman gear in It’s A Mad Mad Mad Mad World. Instead they tried to milk it in a follow-up scene where they played soulless network execs trying to stir controversy out of the production. Amusing, yes, but an overplayed hand.

Not that the casting matchups were bad. Lea Michele aped Susan Sarandon’s voice (as opposed to her usual Streisand channeling) but was overshadowed by Cory Monteith’s dorky take on Brad (not far from his Finn character). Chord Overstreet (yes, that’s a real name) looks so much like the original Rocky character it’s as if he was hired just for this episode.

In the line of the night, Artie suggests that he plays “the guy in the wheelchair”, and John Stamos even got to wear his Elvis “Comeback Special” catsuit and belt out “Hot Patootie” (in B flat, mind you!). And while Amber Riley (Mercedes) flexed her always-great pipes on “Sweet Transvestite”, the modernization of the song (let alone the neutered lyrics) fell flat.

Overall the ensemble did a nice job on “Time Warp”, with Santana and Brittany frighteningly well cast as Magenta and Columbia, and Kurt finally got to flaunt a little Riff Raff. But did we really need the downright creepy scene between Scheuster and Emma in place of remakes of classic scenes from the film, let alone full versions of the songs? Not only was it completely out of character for Emma to behave as she did, but thanks to that lame subplot we never got to hear “Rose Tint My World” or “Eddie” or “I’m Going Home”. (Remember, the rule is more Kurt and Brittany…)

So a couple of bright spots, but mostly underwhelming. Hey, if they could suck it up and go to the wall for Madonna, they could have paid just as much respect to Rocky Horror. Just sayin’.

Lesson learned again – like most times, stick with the originals. And if you can’t do that…well. it’s midnight somewhere – get thee to a theatre!

The Rocky Horror ShowOriginal cast soundtrack

Rocky Horror Picture ShowOriginal film soundtrack

Yes, that was Santana.

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