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    Drunken Golden Globes

    Drunk stars galore (and one gentleman Leo) prevail at sloshy Golden Globes

    Joe Leydon
    Jan 13, 2014 | 8:28 am

    I have to ask: Was Leonardo DiCaprio the only major star not inebriated at the 71st annual Golden Globe Awards?

    Don’t get me wrong: I’m not so prudish as to deny that the party-hearty ambience of the annual Golden Globes extravaganza is what sets it apart from the sometimes interminable slog of the Academy Awards telecast. And, yes, I laughed as much as anyone else watching when Emma Thompson sauntered onto the stage, barefoot and brazenly swilling a martini, to bestow one of the glittering prizes during the NBC telecast Sunday evening.

    You might say DiCaprio was toasting his fellow actors — but not quite the same way Thompson toasted the obviously uncomfortable Louboutin shoes she ultimately tossed aside.

    But damn! I have been to extended-family reunions where I haven’t seen as many sloshed partygoers in attendance. And my family is Irish-American.

    By the time Cate Blanchett took the stage during the show’s final half-hour to accept her much-deserved Globe as Best Actress in a Drama for Blue Jasmine, it was way past time for even the pretense of sobriety on the part of award-winners. “I had a few vodkas under my belt,” Blanchett nonchalantly acknowledged, “and here we are.”

    By contrast, DiCaprio seemed downright stately when he trotted into the winner’s circle after being named Best Actor in a Comedy for his splendiferously over-the-top portrayal of slimeball stockbroker Jordan Belfort in Martin Scorsese’s Wolf of Wall Street. Not only did the superstar have the self-awareness to acknowledge the absurdity of his winning in a “comedy” category, but he was also effortlessly gracious while acknowledging equally worthy competitors (including presumptive sentimental favorite Bruce Dern of Nebraska) in the category.

    Indeed, you might say DiCaprio was toasting his fellow actors — but not quite the same way Thompson toasted the obviously uncomfortable Louboutin shoes she ultimately tossed aside.

    As for the actual Golden Globe awards — well, by and large, they went to the right people, and the right movies. Amy Adams and Jennifer Lawrence certainly deserved their laurels for American Hustle. (Wish I had a dollar for every snarky Twitter reference to the “globes” Adams displayed in his her low-cut attire for the evening.) Likewise, Matthew McConaughey and Jared Leto got what they deserved — i.e., awards — for their excellent performances in Dallas Buyers Club.

    12 Years a Slave pulled something of an upset by landing the Best Drama award — a “surprise” that was surprising primarily because the movie was shut out in all other categories, including Best Actor, Best Director, Best Supporting Actor and Best Supporting Actress.

    But, of course, awards handicappers inevitably will ask: Will that victory help the movie’s chances for a Best Picture win at the Academy Awards? Maybe, maybe not. It should be noted that if any movie got any real momentum out of Sunday evening’s Globe show, it more likely was American Hustle, which copped the Globe for Best Comedy, along with the aforementioned Actress and Supporting Actress nods.

    We’ll have a better idea of how the race is shaping up Thursday morning, when Oscar nominations are announced. But unlike the Hollywood Foreign Press Association, members of the Motion Picture Academy don’t differentiate between comedies and dramas.

    Some other observations about Sunday’s Golden Globes telecast:

    Hostesses With the Mostest
    Making their second appearance as Globe show co-hosts, Tina Fey and Amy Poehler offered a steady stream of snark without seeming too mean-spirited or venomous. Funniest wisecracks? Probably a tie between their take on Gravity — “George Clooney would rather float into space and die rather than spend one more minute with a woman his own age!” — and this modestly shocking introduction: “'And now, like a supermodel's vagina, let's all give a warm welcome to Leonardo DiCaprio.”

    (It’ll be interesting to see whether there’s any protest from the professionally outraged regarding Poehler’s greeting to stars in the audience “and to all the gay men and women watching at home.”)

    Best Truly Shocked Acceptance Speech
    First, an absolutely gobsmacked Jacqueline Bisset takes her own good sweet time walking to the stage, like someone in a trance, to pick up her Best Supporting Actress in a TV Movie or Miniseries (or whatever the hell they call it) for Dancing on the Edge. (Please don’t ask. I didn’t see it either.) Then she gasps “God!” and just, well, stands there for several seconds. By the time she finally begins to get her act together, the orchestra starts the “Get off the stage, pronto!” music.

    Her response? Well, for starters, she slips “shit” past the censors. And then, even as she trends bigger than Clint Eastwood talking to an empty chair on Twitter, she tells us that forgiving anyone and everyone who ever does you harm is the greatest beauty secret of them all. You know what? Judging by how smoking hot the lady still looks, I’d say she’s done a lot of forgiving in her time.

    WTF
    As Kate Beckinsale stood alongside Sean Combs and Usher Raymond to give the movie score and song Golden Globes, all I could think of was a Sesame Street tune: “One of these things is not like the others …”

    Naughty Bit
    Jim Carrey somehow made “cunning” sound like the filthiest word in the English language, bless his heart.

    Lamest Award Intro
    So a sandbag supposedly fell on Melissa McCarthy’s head backstage, and she now thinks she is Matt Damon, and ... zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz.

    Gone But Not Forgotten
    Not surprisingly, the chronically awards-averse Woody Allen didn’t show up to receive his Cecil B. DeMille Award. But Globe show organizers offered a smartly selected montage of clips from Allen’s movies anyway.

    And Allen’s longtime friend Diane Keaton – who, truth to tell, sounded as though she, too, had been imbibing — was on hand to offer an unapologetically rambling but sweetly eloquent tribute to the prolific and prodigious filmmaker. The highlight of her speech was, aptly enough, a quote from Allen himself:

    One of the nice things about writing or any art is that if the thing's real, it just kind of lives. All the success over it or the rejection, none of that really matters because in the end, the thing will survive or not survive on its merits. Immortality via art is no big deal. Francois Truffaut died. His films live on, but that's not much help to Francois Truffaut. As I've said many times, rather than live on in the hearts and minds of my fellow man, I would rather live on in my apartment.

    Hey, I’ll drink to that.

    Bryan Cranston won Best Actor in a TV Drama for his role in Breaking Bad. Before the show, he posed on the red carpet in Burberry tuxedo alongside his wife.

    Bryan Cranston in Burberry and wife at Golden Globes
    Photo courtesy of Burberry
    Bryan Cranston won Best Actor in a TV Drama for his role in Breaking Bad. Before the show, he posed on the red carpet in Burberry tuxedo alongside his wife.
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    Movie Review

    Twin sisters set out for revenge in Tarantino-esque film 'Is God Is'

    Alex Bentley
    May 14, 2026 | 12:30 pm
    Kara Young and Mallori Johnson in Is God Is
    Photo by Patti Perret
    Kara Young and Mallori Johnson in Is God Is.

    The revenge story is one of the most enduring in all of cinema as it can be adapted to multiple different genres. It most naturally fits in the action/thriller genre, but comedies, dramas, Westerns, and more have made good use of characters seeking revenge. The new film Is God Is demonstrates that malleability by detailing an intensely personal story that turns into something bigger.

    Twins Racine (Kara Young) and Anaia (Mallori Johnson) have lived a difficult life, going in and out of foster care and forced to endure stares and taunts because each bears burn scars from a childhood attack. Racine, whose scars are “only” on her left arm, has developed into the protector of Anaia, who suffered burns over much of her face.

    An unexpected call from their mother, Ruby (Vivica A. Fox), who was burned almost beyond recognition in the attack, gives them a purpose: Seeking revenge on the man who ruined their lives. Setting out in a barely working car and with only a small amount of direction, the sisters attempt to fulfill the mission without losing their souls.

    Written and directed by first-time feature filmmaker Aleasha Harris, the film may remind some viewers of Quentin Tarantino’s Kill Bill, and not just because Fox has small roles in both films. Harris has a knack for dialogue, especially between the twins, that ably gets across the story exposition and entertains at the same time. There are many instances where she has the sisters hold silent conversations told on screen via subtitles to convey twin-speak, a method that deepens their connection and draws the viewer in.

    Harris also has her characters engage in the type of shocking violence that Tarantino has used to great effect. The difference here, though, is that even though the story is heightened to a certain degree, the egregious nature of the crime perpetrated upon the girls and their mother makes the whole thing feel bracingly real. This revenge plot is not meant to merely entertain; it’s designed to put the audience in Racine and Anaia’s shoes and fully embrace the call for justice.

    There are a few times when the lack of experience by Harris shows up, especially in the climactic sequence where the stunt work could have used some more precision. But overall, it’s a self-assured filmmaking debut for the playwright-turned-director, who’s adapted her own play with a richness and depth that is not often found from someone stepping behind the camera for the first time.

    Young and Johnson don’t especially look alike, but they embody the essence of twin sisters, and it’s their chemistry together that makes the story as impactful as it is. They’re joined by other strong female performances by Fox, Erika Alexander, and Janelle Monáe, each of whom brings a different vibe. And anyone who loves This is Us or Paradise should prepare themselves for a completely different kind of role for Sterling K. Brown.

    Is God Is uses a variety of inspirations for its storytelling, but in the end it becomes its own thing. The filmmaking world can always stand to have another strong Black voice, and Harris has made an auspicious debut, one that should have cinephiles wondering what she’ll do next.

    ---

    Is God Is opens in theaters on May 15.

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