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    85th Annual Academy Awards

    After a slow start, Seth MacFarlane shines and Argo grabs gold at surprisingly entertaining Oscars

    Joe Leydon
    Feb 25, 2013 | 8:56 am

    No less a notable than First Lady Michelle Obama delivered the Motion Picture Academy’s final verdict: an Oscar for Argo. And, with that, one of the more briskly paced and consistently amusing Oscarcasts in recent years drew to a close Sunday evening as Ben Affleck’s sensationally smart and suspenseful fact-based drama picked up the glittering prize for Best Picture.

    Mind you, even with its grand total of three Academy Awards — in addition to nabbing the big enchilada, it won trophies for Editing and Adapted Screenplay — Argo didn’t take home the biggest haul of golden statuettes. Life of Pi actually scored four wins, in the Cinematography, Original Score, Visual Effects and Best Director (Ang Lee) categories.

    Argo is the one that will be remembered, rightly or wrongly, as a victorious underdog.

    But Argo is the one that will be remembered, rightly or wrongly, as a victorious underdog, one that edged out two worthy rivals that had, at various points during this season’s interminable Oscar sweepstakes, appeared to be front-runners: Steven Spielberg’s Lincoln (which settled for Best Actor and Production Design awards) and Silver Linings Playbook (which claimed only one Oscar, a Best Actress accolade for Jennifer Lawrence).

    Seth's slow start
    As for the Oscarcast itself: I must admit that, a few minutes into the program — specifically, the length of the jaw-droppingly off-putting “Boobs” production number — I briefly considered the possibility that host Seth MacFarlane was deliberately striving for dishonors as Worst Oscar Host Ever.

    Maybe that was supposed to be part of the joke triggered by William Shatner’s appearance as Captain Kirk, who supposedly was beaming back from the future to warn MacFarlane that his tasteless comedic shtick would chart heretofore unplumbed depths of suckage.

    But, as Huey Lewis sagely noted, sometimes bad is just bad.

    Throughout the entire program, MacFarlane sustained an artful balance of snarky wit and zesty enthusiasm.

    Fortunately, however, the longer MacFarlane’s opening segment continued, the funnier it got. (Kudos to Shatner — and to Sally Field, who may have lost the Supporting Actress prize but earned top honors as Best Sport Ever.)

    Throughout the entire program — with the arguable exception of a final number with frightfully chirpy Kristin Chenoweth — MacFarlane sustained an artful balance of snarky wit and zesty enthusiasm.

    Other elements of the Oscarcast worth noting:

    Keeping abreast of titillating developments
    During last year’s Oscarcast, Angelina Jolie inspired an instant Twitter account — “Angelina Jolie’s Leg” — with her brazen display of a shapely limb. This year, some Tweeters noted that, even before the Oscarcast actually began, Anne Hathaway — the Supporting Actress prize-winner for Les Misérables — inspired a pair of Twitter accounts (@annesheadlights and @hathawaynipple) with her braless look on the red carpet. To which I replied: Well, of course there are two of them.

    Best running gag
    Every so often, Quvenzhané Wallis of Beasts of the Southern Wild could be seen in the audience playfully flexing her muscles, as though giddily acknowledging just how amazing it was that someone so young (and so talented) could be an Oscar nominee.

    All of which prompted MacFarlane to warn other hopefuls not to get too stuck on themselves: “So you got nominated for Oscar — something a 9-year-old could do.”

    Worst gag of any sort
    MacFarlane rightly praised Daniel Day Lewis’ Oscar-worthy performance as Abraham Lincoln — and offered props top Raymond Massey’s portrayal of the Great Emancipator in Abe Lincoln in Illinois (1940). Even so, he added, “I would argue that the actor who got most inside Lincoln’s head was John Wilkes Booth.”

    MacFarlane tried to make light of the audience’s audible disapproval of his remark. But that didn’t make it any less inexcusable.

    Best acceptance speech
    Some haters have accused Anne Hathaway of seeming too “rehearsed” in her acceptance speeches during this awards season as she’s claimed multiple accolades for her performance in Les Misérables. A performance, it must be acknowledged, that consists largely of her deeply affecting rendition of the song “I Dreamed a Dream.”

    But you know what? When Hathaway gasped, “It came true” at the start of her onstage remarks — well, hell, I was a goner.

    Second best acceptance speech
    Ang Lee gets his Best Director prize, and says, “Thank you, Movie God.”

    Brassy Bassey
    The tribute to 50 years of James Bond movies was cleverly assembled — but, really, the film-clip montage served merely as an introduction to a dazzling performance by Dame Shirley Bassey, who belted out the theme from Goldfinger with her customary pizzazz while demonstrating that, at age 76, she’s still one of the more sizzling songbirds around.

    With all due respect to Adele — who rocked the house with her rendition of this year’s Oscar winning 007 theme, “Skyfall” — there is nothing like a dame.

    Oscar winners, from left, Daniel-Day Lewis, Jennifer Lawrence, Anne Hathaway and Christoph Waltz.

    Daniel Day-Lewis, Jennifer Lawrence, Anne Hathaway, Christoph Waltz, Academy Awards, February 2013
    Photo by Jason Merritt Getty Images
    Oscar winners, from left, Daniel-Day Lewis, Jennifer Lawrence, Anne Hathaway and Christoph Waltz.
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    Movie Review

    Michelle Pfeiffer is an unappreciated mom in Oh. What. Fun.

    Alex Bentley
    Dec 5, 2025 | 2:23 pm
    Michelle Pfeiffer in Oh. What. Fun.
    Photo courtesy of Amazon MGM Studios
    Michelle Pfeiffer in Oh. What. Fun.

    Of all the formulaic movie genres, Christmas/holiday movies are among the most predictable. No matter what the problem is that arises between family members, friends, or potential romantic partners, the stories in holiday movies are designed to give viewers a feel-good ending even if the majority of the movie makes you feel pretty bad.

    That’s certainly the case in Oh. What. Fun., in which Michelle Pfeiffer plays Claire, an underappreciated mom living in Houston with her inattentive husband, Nick (Denis Leary). As the film begins, her three children are arriving back home for Christmas: The high-strung Channing (Felicity Jones) is married to the milquetoast Doug (Jason Schwartzman); the aloof Taylor (Chloë Grace Moretz) brings home yet another new girlfriend; and the perpetual child Sammy (Dominic Sessa) has just broken up with his girlfriend.

    Each of the family members seems to be oblivious to everything Claire does for them, especially when it comes to what she really wants: For them to nominate her to win a trip to see a talk show in L.A. hosted by Zazzy Tims (Eva Longoria). When she accidentally gets left behind on a planned outing to see a show, Claire reaches her breaking point and — in a kind of Home Alone in reverse — she decides to drive across the country to get to the show herself.

    Written and directed by Michael Showalter (The Idea of You), and co-written by Chandler Baker (who wrote the short story on which the film is based), the movie never establishes any kind of enjoyable rhythm. Each of the characters, including competitive neighbor Jeanne (Joan Chen), is assigned a character trait that becomes their entire personality, with none of them allowed to evolve into something deeper.

    The filmmakers lean hard into the idea that Claire is a person who always puts her family first and receives very little in return, but the evidence presented in the story is sketchy at best. Every situation shown in the film is so superficial that tension barely exists, and the (over)reactions by Claire give her family members few opportunities to make up for their failings.

    The most interesting part of the movie comes when Claire actually makes it to the Zazzy Sims show. Even though what happens there is just as unbelievable as anything else presented in the story, Showalter and Baker concoct a scene that allows Claire and others to fully express the central theme of the film, and for a few minutes the movie actually lives up to its title.

    Pfeiffer, given her first leading role since 2020’s French Exit, is a somewhat manic presence, and her thick Texas accent and unnecessary voiceover don’t do her any favors. It seems weird to have such a strong supporting cast with almost nothing of substance to do, but almost all of them are wasted, including Danielle Brooks in a blink-and-you'll-miss-it cameo. The lone exception is Longoria, who is a blast in the few scenes she gets.

    Oh. What. Fun. is far from the first movie to try and fail at becoming a new holiday classic, but the pedigree of Showalter and the cast make this dismal viewing experience extra disappointing. Ironically, overworked and underappreciated moms deserve a much better story than the one this movie delivers.

    ---

    Oh. What. Fun. is now streaming on Prime Video.

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