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    Best & Worst Oscar Moments

    Oscars 2014: Best and worst moments, including Matthew McConaughey's victory dance

    Joe Leydon
    Mar 3, 2014 | 7:40 am

    After devoting most of the last six months handicapping the Oscar race, movie bloggers likely will spend most of the next 36 hours trashing Sunday’s evening’s Academy Awards telecast. Why? Perhaps they can’t help themselves.

    As writer-historian Mark Harris suggested in an insightful Tweet, dissing the Oscarcast is “the Silkwood shower we take to scrub off the self-hatred.”

    But here’s the thing: As Oscarcasts go, the one that aired Sunday was a modestly amusing and generally well-paced affair. Capably if not excitingly hosted by a game and ingratiating Ellen DeGeneres, the program proved to be relatively painless as made-for-TV spectacle and largely satisfying as a doling out of just desserts to the truly deserving.

    Co-star Jared Leto gave an eloquent enough speech while accepting his Oscar. But Matthew McConaughey was the one firing on all cylinders.

    And if that sounds like I’m damning with faint praise — I am. But if anyone tries to tell you this is the worst Oscarcast he or she has ever seen, you need to ask just how many Oscarcasts this complainer has ever watched.

    Speaking as a cineaste, I was pleased when the brutally gripping 12 Years a Slave was named Best Picture — even though, deep in my heart, I was hoping for an upset by Nebraska — and when co-star Lupita Nyong’o grabbed the gold as Best Supporting Actress. But, then again, I was just as happy that the relentlessly thrilling Gravity took home seven Oscars overall, including Best Director for Alfonso Cuarón.

    No, I was not surprised that Cate Blancett got the Best Actress award for Blue Jasmine and that her path to victory wasn’t blocked by any sort of backlash against writer-director Woody Allen. (Blanchett had this sucker nailed down as early as last summer.) Yes, I was delighted the Aussie took time during her acceptance speech to take a spirited swipe at Hollywood studio chiefs who continue to believe “films with women at the center are niche experiences.”

    And I freely confess: I whooped and hollered with unabashed glee when Texas boy Matthew McConaughey got the Oscar as Best Actor for his richly detailed and deeply moving portrayal of hustler-turned-AIDS activist Ron Woodruff in Dallas Buyers Club.

    Co-star Jared Leto gave an eloquent enough speech while accepting his Oscar as Best Supporting Actor. But McConaughey was the one firing on all cylinders, thanking everyone from God Almighty to director Jean-Marc Vallée to a dad swilling Miller Lite somewhere in heaven while clutching the gold, beaming brightly and, briefly, dancing an expression of happy gratitude. Awright, awright, awright!

    Some other random observations about the Oscarcast:

    Best Remark From a Winner to a Fawning Audience
    Cate Blanchett: “Sit down, you’re too old to be standing!”

    Same Time, Next Year ... Maybe
    Jim Carrey made but a fleeting appearance, to intro a film-clip montage, but he scored big laughs — yes, even with his borderline-lame LSD joke — and his uncannily accurate imitation of Bruce Dern was downright hilarious. (So hilarious, it had Dern himself roaring with laughter.) Why not give him a chance to liven up the whole freakin’ show?

    Just Wondering
    Am I the only one who expected Ellen to wind up asking Meryl Streep to just get up and take that group photo?

    Go Ahead, Admit It
    Sure, Lupita Nyong'o won the Best Supporting Actress award for her excruciatingly powerful performance in 12 Years a Slave. And, God bless her, she richly deserved it. But c’mon: Julie Squibb of Nebraska had the best film clip in this category.

    Come to think of it, she had the best film clip of anybody nominated in any category all evening, right?

    Best Presenter-to-Presenter Banter
    Bill Murray to Amy Adams: “Baby, you look like $146 million domestic.” (Props also to Murray’s evidently impromptu shout-out to the late Harold Ramis “for Caddyshack, Ghostbusters and Groundhog Day.”)

    Fallen Stars
    The people who put together the annual “In Memoriam” tribute usually catch heat for neglecting to include this aged celebrity or that industry insider, and the segment as a whole often is mocked as, well, take your pick: too lachrymose, too ponderous, too, well, sad.

    But this year’s tribute to film folks no longer with us struck me as much classier and more subdued than usual this year. For one thing, everyone from gone-too-soon Paul Walker to veteran producer A.C. Lyles to master animator Ray Harryhausen got pretty much the same time on screen. (A personal observation: Very, very glad to see my friend Roger Ebert made the, ahem, final cut.)

    The decision to use Roger Williams’ ineffably haunting theme from Somewhere in Time to underscore the presentation was a masterstroke. And yes, Bette Midler brought it all home with an effective and affecting rendition of her signature tune, “Wind Beneath My Wings.”

    It’s a shame that they couldn’t, or wouldn’t, include Sarah Jones in the lineup, despite the much-publicized campaign to honor the young camera assistant who was killed February 20 during the location filming of Midnight Rider. But, yes, that was her name you saw flashing on the screen before the commercial break, on a plug for the longer “In Memoriam” tribute that appears on Oscar.com.

    Unmentionable, Unforgettable
    It would be needlessly unkind to remark about the appearance of two female presenters who likely have grounds to sue their plastic surgeons. Both reminded me, alas, of the old joke about the woman who had her face lifted — and then dropped.

    And I just can’t bring myself to say anything about — well, no, that’s a lie. I can bring myself to say I have the utmost respect and admiration for Sidney Poitier. It’s just that I felt very melancholy while seeing him looking so frail — even while coming off so effortlessly elegant and dignified — while serving as a Best Director presenter.

    I’m even more grateful than I might normally be that Poitier also appeared during one of the evening’s “Celebrating Heroes” montages (or whatever the hell they were called), looking fine and in his prime in Norman Jewison’s In the Heat of the Night. Yes, even after all these years, it’s always a terrific rush to hear: “They call me Mister Tibbs!”

    Good Sport of the Evening
    Brad Pitt, hands down. Not only was he a nifty presenter and a supportive partner — note the way he proudly applauded Angelina Jolie’s win of an honorary Oscar — but he was also one of the first celebs to get out of his seat and join the fun when Ellen called for folks to join her in that group shot.

    And when Ellen started handing out pizza — well, I’ll be damned if he wasn’t the dude first dude to start handing out paper plates and napkins before he chowed down. Don’t know about you, but I want him to drop by for my next party.

    And Speaking of Pizza
    Gee, do you think this place will enjoy an uptick in business after tonight?

    unspecified
    news/entertainment

    Movie Review

    Film sequel Avatar: Fire and Ash is a technical and visual feast

    Alex Bentley
    Dec 18, 2025 | 3:15 pm
    Oona Chaplin in Avatar: Fire and Ash
    Photo courtesy of 20th Century Studios
    Oona Chaplin in Avatar: Fire and Ash.

    For a series whose first two films made over $5 billion combined worldwide, Avatar has a curious lack of widespread cultural impact. The films seem to exist in a sort of vacuum, popping up for their run in theaters and then almost as quickly disappearing from the larger movie landscape. The third of five planned movies, Avatar: Fire and Ash, is finally being released three years after its predecessor, Avatar: The Way of Water.

    The new film finds the main duo, human-turned-Na’vi Jake Sully (Sam Worthington) and his native Na’vi wife, Neytiri (Zoë Saldaña), still living with the water-loving Metkayina clan led by Ronal (Kate Winslet) and Tonowari (Cliff Curtis). While Jake and Neytiri still play a big part, the focus shifts significantly to their two surviving children, Lo’ak (Britain Dalton) and Tuk (Trinity Jo-Li Bliss), as well as two they’ve essentially adopted, Kiri (Sigourney Weaver) and Spider (Jack Champion).

    Miles Quaritch (Stephen Lang), who lives on in a fabricated Na’vi body, is still looking for revenge on Jake, and he finds help in the form of the Mangkwan Clan (aka the Ash People), led by Varang (Oona Chaplin). Quaritch’s access to human weapons and the Mangkwan’s desire for more power on the moon known as Pandora make them a nice match, and they team up to try to dominate the other tribes.

    Aside from the story, the main point of making the films for writer/director James Cameron is showing off his considerable technical filmmaking prowess, and that is on full display right from the start. The characters zoom around both the air and sea on various creatures with which they’ve bonded, providing Cameron and his team with plenty of opportunities to put the audience right there with them. Cameron’s preferred viewing method of 3D makes the experience even more immersive, even if the high frame rate he uses makes some scenes look too realistic for their own good.

    The story, as it has been in the first two films, is a mixed bag. Cameron and co-writers Rick Jaffa and Amanda Silver start off well, having Jake, Neytiri, and their kids continue mourning the death of Neteyam (Jamie Flatters) in the previous film. The struggle for power provides an interesting setup, but Cameron and his team seem to drag out the conflict for much too long. This is the longest Avatar film yet, and you really start to feel it in the back half as the filmmakers add on a bunch of unnecessary elements.

    Worse than the elongated story, though, is the hackneyed dialogue that Cameron, Jaffa, and Silver have come up with. Almost every main character is forced to spout lines that diminish the importance of the events around them. The writers seemingly couldn’t resist trying to throw in jokes despite them clashing with the tone of the scenes in which they’re said. Combined with the somewhat goofy nature of the Na’vi themselves (not to mention talking whales), the eye-rolling words detract from any excitement or emotion the story builds up.

    A pre-movie behind-the-scenes short film shows how the actors act out every scene in performance capture suits, lending an authenticity to their performances. Still, some performers are better than others, with Saldaña, Worthington, and Lang standing out. It’s more than a little weird having Weaver play a 14-year-old girl, but it works relatively well. Those who actually get to show their real faces are collectively fine, but none of them elevate the film overall.

    There are undoubtedly some Avatar superfans for which Fire and Ash will move the larger story forward in significant ways. For anyone else, though, the film is a demonstration of both the good and bad sides of Cameron. As he’s proven for 40 years, his visuals are (almost) beyond reproach, but the lack of a story that sticks with you long after you’ve left the theater keeps the film from being truly memorable.

    ---

    Avatar: Fire and Ash opens in theaters on December 19.

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