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    Golden Moments

    Texas triumphs and more indelible bits from tame 2015 Golden Globes

    Alex Bentley
    Jan 11, 2015 | 11:56 pm

    Despite being around for 72 years, the Golden Globe Awards have been and likely always will be the redheaded stepchild of awards season. They’re rarely a harbinger for awards to come, mostly because they’re voted on by the Hollywood Foreign Press Association instead of industry professionals, and because they do things like shoehorn Birdman into the Best Comedy/Musical category.

    But they’re usually the most entertaining of the awards shows, because the stars have no reservations about guzzling multiple drinks, leading to some truly delightful moments. Returning as co-hosts for the third and last time were Tina Fey and Amy Poehler, two former Saturday Night Live cast members whose bond only seems to grow stronger as the years go along.

    The co-hosts were not as biting with their quips as they have been the past two years, but they still got off a few great zingers. On Patricia Arquette’s nominated role in Boyhood, which she shot over 12 years, they noted that this proves there are still great roles for women over 40, as long as they’re hired before they turn 40.

    And they went after George Clooney yet again, pointing out that his wife, Amal Alamuddin, has accomplished a tremendous amount in her non-Hollywood career, yet it was Clooney who received the lifetime achievement award.

    But they reserved their most shocking jokes for Bill Cosby — no surprise given Fey’s history at jabbing the comedian for the rape allegations against him. No recap does their jokes justice, so here’s the video instead:


    cos by vidstuffs

    However, once they got past the opening monologue, Fey and Poehler turned relatively tame, and the usually raucous awards show seemed to follow suit. There was not one boozy presenter or award winner, save for the reliably naughty Ricky Gervais, although even he seemed to censor himself.

    That doesn’t mean the night was devoid of memorable moments. Among ones worth remembering:

    • A standing ovation for, of all people, HFPA president Theo Kingman after he proclaimed the HFPA’s support of free speech in the wake of the Charlie Hebdo shootings.
    • Rapper Common, who co-starred in Selma, gave an eloquent speech honoring the civil rights fight that continues to this day.
    • Two other SNL alums, Kristen Wiig and Bill Hader, who co-starred in The Skeleton Twins, were as funny as always when they presented the award for best screenplay.
    • Kevin Spacey, who had been nominated seven previous times before winning this year for his role on House of Cards, tested the censors with the line, “This is the eighth time I’ve been nominated. I can’t believe I f---ing won one.”
    • Michael Keaton delivered the most personal speech of the night after winning Best Actor, Comedy/Musical for Birdman, revealing intimate personal details. In paying tribute to his parents and his upbringing, he said his name is really Michael John Douglas, a fact many were sure not to know. He also had the line of the night while choking back tears: “My best friend is kind, intelligent, funny, talented, considerate, thoughtful … did I say kind? He also happens to be my son, Sean.” Keaton may or may not get to deliver another speech this awards season, so it was a pleasure getting a peek inside his soul, if only for a minute or two.

    Boyhood was the big winner of the night, taking home three awards, including Best Supporting Actress for Arquette, Best Director for Richard Linklater and Best Picture, Drama. Birdman seemed destined for a similar trio of awards after winning for Best Screenplay and Best Actor, but The Grand Budapest Hotel, from Texan Wes Anderson, surprisingly won for Best Picture, Comedy/Musical.

    Other winners on the movie side included J.K. Simmons for Best Supporting Actor in Whiplash; Amy Adams for Best Actress, Comedy/Musical for Big Eyes; Eddie Redmayne for Best Actor, Drama in The Theory of Everything; and Julianne Moore for Best Actress, Drama in Still Alice.

    On the television side, the Amazon series Transparent made a splash by winning Best Comedy/Musical and Best Actor for Jeffrey Tambor. Showtime’s The Affair won for Best Drama, and Ruth Wilson was honored as Best Actress.

    On a local note, Second Thought Theatre alum Allison Tolman, who was nominated for her role in Fargo, was front and center when the series won for Best TV Movie/Mini-Series.

    Common, who won the award for Best Song alongside John Legend for "Glory" from Selma, delivered one of the more eloquent speeches of the night.

    Common and John Legend at the 2015 Golden Globe Awards
    Photo by Paul Drinkwater NBC
    Common, who won the award for Best Song alongside John Legend for "Glory" from Selma, delivered one of the more eloquent speeches of the night.
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    Movie Review

    Rose Byrne fights for her life and car in new movie 'Tow'

    Alex Bentley
    Mar 20, 2026 | 10:45 am
    Rose Byrne in Tow
    Photo courtesy of Roadside Attractions
    Rose Byrne in Tow.

    Actor Rose Byrne had a banner year in 2025, getting her first Oscar nomination for her starring role in If I Had Legs, I’d Kick You. Although she came up short in that race, she’s getting another chance to prove her acting bona fides in the new film, Tow.

    In the “inspired by a true story” movie, Byrne plays Amanda, a down-on-her-luck woman who lives in her car and can’t find a job. Living in Seattle, she tries to stay in touch with her daughter, Avery (Elsie Fisher), who lives with her dad in another city, but circumstances sometimes limit their communications, especially when her car is stolen.

    The good news is that her car is found relatively quickly. The bad news is that the tow company is charging her to get her car back, money she can’t afford. Now truly homeless, she does everything in her power to right the wrong, even taking the company to court. Without much luck, she has to start staying in a women’s shelter run by Barbara (Octavia Spencer), where she makes friends with Nova (Demi Lovato) and Denise (Ariana DeBose), among others.

    Directed by Stephanie Laing and written by Jonathan Keasey and Brent Boivin, the film has relatively low stakes going for it and never really tries to make the story feel deeper than it is. The situation Amanda finds herself in is clearly a tough one, and any empathetic person would feel for her and want her to overcome her plight. But the filmmakers keep things light and never try to up the drama in any significant way.

    The issue Amanda is dealing with, being price gouged by a predatory towing company, is one with which many people can relate. But aside from helpfully underscoring Amanda’s frustration by showing the increasing number of days she is without a car, they never establish why they felt this particular story was one worth telling. Her personal issues, including a growing estrangement with her daughter, fail to conjure any big emotions.

    The filmmakers are very loose with their storytelling, especially when it comes to side characters. The presence of the women she meets at the shelter, and Kevin (Dominic Sessa), the young lawyer who offers to help her, never makes full sense other than a need for her to have other people with whom to interact. A tighter focus on what Amanda was going through would’ve helped both her and people around her feel more important.

    Byrne is a dynamic performer who’s shown great skill at both drama and comedy, but there’s nothing special about her performance here. Hampered a bit by a blonde wig and false teeth, she feels out of sorts for much of the film. The unusually high-powered supporting cast - both Spencer and DeBose are Oscar winners - makes things interesting on first blush, but none of them outside of Sessa is given much to do, so they’re mostly wasted.

    Tow will be a disappointment for anyone hoping to see more great stuff from Byrne. While she remains a fine actor, her performance and the story as a whole are nowhere near the level shown in her previous film. The real life predicament shown in the film also never rises to the level of being of something worth showing to the masses.

    ---

    Tow is now showing in theaters.

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