With A Star is Born going 'Drama' where does that leave the 'Musical/Comedy' race at the Golden Globes?

by Nathaniel R

Perhaps you've heard that both A Star is Born and Bohemian Rhapsody will being competing as Dramas rather than Musicals at the Globes. That's a fairly shocking move since dramatic biopics about musicians generally campaign as "Musical or Comedy" -- think Walk the Line, Ray, Beyond the Sea, Coal Miner's Daughter. Presumably Warner Bros has bought into the stigma that "Comedy or Musical" is the lesser category which is really unfortunate because it's one of the best things about the Globes. The Comedy or Musical prizes are filled with great stuff that Oscar SHOULD have recognized throughout the years.

The Globes really ought to have consistency with who they allow to compete where but since they don't, it's a savvy move on Warner Bros part especially in the field of 'Best Actress, Drama' where Glenn Close's campaign probably felt that the win was all but locked up until Lady Gaga (already a Globe favorite) muscled in. Glenn Close has won two Globes herself so it's not like the Globes don't like her but it's worrying that the Globes have only given her prizes for her TV work. Like Oscar they went in other directions every time she was up for movie roles during her highly popular 1980s run. As for Bohemian Rhapsody it's a strange choice since Rami Malek will probably have a tougher time breaking into Best Actor, Drama... 

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Hugh Jackman at 50

by Eric Blume

Hugh Jackman celebrating his 50th birthday.

Let’s all take a moment to celebrate the half-century birthday of one of our most versatile and underrated actors, Hugh Jackman.

Underrated, you question?  Sure, Hugh has a Best Actor Tony for The Boy from Oz, an Emmy Award for hosting the Academy Awards, and a Best Actor Oscar nomination for Les Miserables.  But if you asked folks to list ten of the best working actors, would most people remember to put him on their list?

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Oscar's Foreign Race Pt 5 - Beauty Break, International Male

Chino Darín, son of Argentina's most prominent movie star Richardo Darín, stars in two of the Foreign Film Contenders this yearby Nathaniel R

We've been digging into the 87 films that are up for the Academy Award in Foreign Language Film. So far we've watched the trailers, talked abotu the female directors, and introduced the first time filmmakers. 

Today something more fun but of vital importance: hot men. Please enjoy this beauty break featuring snacks from all over the world. We scoured the entries for the eye candy (it was painstaking research!) and here's what we found. If we missed someone from your country, we apologize because we haven't seen all the film so someone just gorgeous could have easily slipped through the cracks.

SO. Which of these dozen men do you already love and which do you want to love just by looking at them? They're presented in random order after the jump...

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Review: "Bad Times at the El Royale"

by Chris Feil

Drew Goddard has become a Hollywood go-to screenwriters for charging genres with new life, molding The Martian with equal parts brainy science and dopiness and both upholding and subverting the monster movie with Cloverfield. Bad Times at the El Royale is his first return to the director’s chair since the horror spoof-but-also-not-a-spoof The Cabin in The Woods, and again he has perhaps bitten off more than he can narratively chew.

This time Goddard is taking on pulpy pop noir, setting for a showdown at a highway hotel bisected by the California-Nevada border. Checking in are Cynthia Erivo’s quiet lounge singer Darlene, Jon Hamm’s chatterbox vacuum salesman Laramie Sullivan, Dakota Johnson as a mysterious woman named Emily, and Jeff Bridges giving the most Bridges as a suspicious priest named Father Flynn. The writer/director has Tarantino on the brain as Agatha Christie, chaptering the film by the various rooms hosting each guest and slowing revealing the night’s dirty deeds from each of their perspectives. Think of it like a heterosexual Clue mixed with a bisexual Reservoir Dogs, but not as fun.

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Blueprints: "Crazy Rich Asians"

I’m back. Thanks everyone for bearing with the small hiatus that the column took for the past few weeks. Who knew being overworked and sick wasn’t a good time? For our return, let’s take a look at the biggest movie of the summer, and how a pivotal scene operates in many emotional levels. -Jorge

Warning! Crazy Rich Spoilers ahead!

There are many things to admire in Crazy Rich Asians. Consider theway it reinvents a rom-com formula that seemed to have gotten stale. Or its historic all-Asian cast, something that hadn’t happened in an American movie in over two decades. Big themes of family, legacy, tradition and culture running through its veins. And Michele Yeoh’s stare. One scene in the movie encompasses all of these traits.

The mahjong game, the final confrontation between Rachel (Constance Wu) and Eleanor (Michelle Yeoh) was not in the original novel; it was written specifically for the film. It's one of the most emotionally powerful moments of the movie, where Rachel finally gives up the fight and backs away from her fiancée and his family that clearly doesn’t want her there. But in the scene, Rachel reclaims power and control in many levels at the same time. Let’s take a look at the script to see how the most tense movie moment of the summer was crafted. Sorry, Mission Impossible...

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