Hollywood stars declare war on sexual misconduct at Globes
Hollywood stars declare war on sexual misconduct at Globes
The industry’s elite turned the red carpet black for the Globes, the glitzy launch of Tinseltown’s awards season, in a fashionable repudiation of disgraced mogul Harvey Weinstein and others ensnared in allegations of misconduct.
Billed as the most raucous event in the showbiz calendar, the Hollywood Foreign Press Association’s annual prize-giving is a draw for filmmakers and actors looking to create some buzz ahead of the Oscars in March.
But this year’s ceremony, seen as the first big opportunity for the industry to unite and deliver a message about how Hollywood can move forward, struck a more serious tone.
“Speaking your truth is the most powerful tool we all have,” actress and media powerhouse Oprah Winfrey told the audience at the Beverly Hilton as she accepted a lifetime achievement award.
“For too long, women have not been heard or believed if they dare speak the truth to the power of those men. But their time is up,” she added, earning a standing ovation.
Actors and actresses turned out in black in solidarity with victims of Weinstein and numerous other figures exposed by the harassment and abuse scandal, including Kevin Spacey, Brett Ratner and Dustin Hoffman.
And the overall message was a call for continued change.
“People are aware now of a power imbalance. It’s led to abuse in our industry. (...) It’s everywhere,” Meryl Streep, who is vying for a Globe for her work in media drama “The Post,” told E! network on the red carpet.
Fellow Oscar winner Viola Davis added: “It’s all of these women just embracing their authentic voices and standing in solidarity with each other.”
Seth Meyers, making his debut as Globes host, opened the show with joke after joke about Hollywood’s post-Weinstein reckoning.
“It’s 2018, marijuana is finally allowed and sexual harassment finally isn’t. It’s going to be a good year,” the late night NBC funnyman said.
“For the male nominees in the room tonight, this is the first time in three months it won’t be terrifying to hear your name read out loud.”
The ceremony at the Beverly Hilton is not as reliable at predicting Oscars glory as the galas held by Hollywood’s acting, producing and directing unions.
But it remains one of the most high-profile and glamorous events of the awards calendar and tends to generate more headlines for tipsy tributes and wacky one-liners.
Leading the pack this year is Guillermo del Toro’s fantasy romance “The Shape of Water” with seven nominations, while “The Post” and “Three Billboards Outside Ebbing, Missouri” went into the night tied for second, with six each.
Overall, 25 awards are given out — 14 for movies and 11 for TV — and, as usual, the 90-member HFPA has sprung more than a few surprises in the nominations, placing horror satire “Get Out” in the best comedy-musical category.
But there were no nominations at all for female filmmakers despite huge successes in 2017 for Greta Gerwig (“Lady Bird“), Patty Jenkins (“Wonder Woman“), Dee Rees (“Mudbound“), Kathryn Bigelow (“Detroit“) and Sofia Coppola (“The Beguiled“).
The first film award of the evening went to Sam Rockwell, who took home the best supporting actor in a film prize for crime drama “Three Billboards.”
He paid tribute to his “actor-friendly” director Martin McDonagh and co-star Frances McDormand, whom he described as “a force of nature.”
McDonagh also won for best screenplay. But Del Toro took the best director prize.
While many fields were wide open, James Franco (“The Disaster Artist“) was always a shoo-in to win best actor in a musical/comedy movie.
Franco — who also directed the film about Tommy Wiseau’s flop-turned-cult-hit “The Room” — gave a shoutout to his brother and co-star Dave, telling the gathered celebrities: “I love him more than anything. Thanks to my mother for giving him to me.”
On the small screen, HBO’s “Big Little Lies” scooped up a rare trio of acting awards for Nicole Kidman, Alexander Skarsgard and Laura Dern.
“I hope we can elicit change through the stories we tell and the way we tell them,” said Kidman, who was named best actress in a limited series for her role as an abused wife in the show.
Dern urged Hollywood to support survivors of abuse and to promote restorative justice.
“May we teach our children that speaking out without the fear of retribution is our culture’s new north star,” she said.
“The Handmaid’s Tale” followed up its Emmys night glory, when it won four statuettes, by beating perennial awards juggernaut “Game of Thrones” to the Globe for best TV series.
Its star Elisabeth Moss also took home the prize for best actress in a drama, and thanked Margaret Atwood, who wrote the best-selling dystopian novel on which the Hulu series was based.
“Margaret Atwood, this is for you and the women who came before you and after you who were brave enough to speak out against intolerance and injustice and to fight for equality and freedom in this world,” Moss said.
Pint-sized heroes score big in Marvel’s latest flick
- Characters who fly off the pages of comic books and onto the silver screen are often exciting and Ant-Man and the Wasp are no different
- What is really memorable about this film is the emotional high
CHENNAI: Characters who fly off the pages of comic books and onto the silver screen are often dynamic and exciting, and Ant-Man and the Wasp are no different. The characters of Scott Lang and Hope van Dyne (Ant-Man and the Wasp, respectively) go on an epic adventure in the 20th release in Disney’s Marvel Cinematic Universe series of comic book movies, and the first to feature a woman in the title.
Directed by Peyton Reed, Ant-Man (Paul Rudd) and the Wasp (Evangeline Lilly) star in a gleeful movie that, for two hours, takes viewers into the realm of sheer fantastical fantasy. There is a lot of fun here and the special effects dexterously push the pulse-pounding plot as buildings shrink into miniature form and vehicles go from minuscule to massive in the blink of an eye.
It’s the second movie in the series and this time, Scott Lang languishes under house arrest in San Francisco after being caught as his shrinkable superhero alter-ego fighting some of the other Avengers in “Civil War.” He dotes on his young daughter Cassie (Abby Ruder Forston) and the pair make the most of their time together at home, but his world is turned upside down when he’s confronted by Hope Van Dyne and her father, the brilliant quantum physicist Hank Pym (Michael Douglas), with an urgent new mission.
His wife, Janet van Dyne (Michelle Pfeiffer), has been stuck in the quantum realm for 30 years and it’s time to save her from being lost forever.
What is really memorable about this film is the emotional high — the tender relationship between Lang and his daughter, the stirrings of love between him and Hope and Hank’s unwavering feelings for his long-missing wife. These play out as strongly as the electrifying car chases, the fantastic fights and the terrific transmogrification of just about everything.
Besides the gigantic helping of humor — most of which comes courtesy of a hilarious Michael Peña — the film is made by a wistful Pfeiffer, a grumbling Douglas and a hilarious Rudd, who all add that touch of magic humanism.