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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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    news/entertainment

    Movie review

    Over-the-top The Bride! makes other Frankenstein movies seem subtle

    Alex Bentley
    Mar 6, 2026 | 12:15 pm
    Christian Bale and Jessie Buckley in The Bride!
    Photo by Niko Tavernise
    Christian Bale and Jessie Buckley in The Bride!.

    The story of Dr. Frankenstein and his monster is now over 200 years old, with Mary Shelley’s book having been adapted or referenced in close to 500 films. Less common is the character of The Bride of Frankenstein, which existed in the original text but has more often than not been excised in adaptations. Writer/director Maggie Gyllenhaal has tried to rectify that by giving the character a big showcase in her new film, The Bride!.

    Gyllenhaal has reimagined the story as one in which a woman named Ida (Jessie Buckley) becomes possessed by the spirit of Shelley (also Buckley). At the same time, the already-existing Frankenstein’s monster (Christian Bale) approaches Dr. Euphronius (Annette Bening), who specializes in reanimation, with the request to make him a wife. When Ida falls to her death in an “accident” involving her boyfriend (John Magaro), the ideal corpse becomes available.

    After Ida’s resurrection, she and the monster become restless being studied by Dr. Euphronius and decide to break out to experience the world. The world, naturally, is not exactly welcoming to them, and soon the couple are on the run for causing mayhem, including a few murders. In hot pursuit are detective Jake Wiles (Peter Sarsgaard) and his assistant, Myrna Mallow (Penélope Cruz), as well as other authorities.

    It’s clear that Gyllenhaal wanted to merge the Frankenstein story with Bonnie & Clyde, especially since she sets the film in the mid-1930s. And that wouldn’t have been a bad idea if having the monster and The Bride going on a crime spree was truly the focus of the movie. But most of the time there’s less intentionality in their misdeeds and more confusion, leading to a muddled plot with no clear direction or end goal in mind.

    One of the biggest problems is that Gyllenhaal starts the energy of the film at an 11, giving her and everyone else nowhere to go but down. She dabbles in multiple different tones, at times going the straight drama route and other times making what seems like full-on camp. At one point, she even has the monster and the Bride in a dance sequence set to “Puttin’ on the Ritz,” which would be hilarious as an homage to Young Frankenstein if the film weren’t so disjointed.

    Most baffling of all is what Gyllenhaal wants from The Bride character. She morphs multiple times over the course of the film, from close to unintelligible at the beginning to rough-and-tumble at the end. There are hints at the lack of control she has over her autonomy, including Shelley’s possession of her and the monster lying to her about her past, but any commentary that Gyllenhaal might be trying to make gets lost amid the oddity of the film as a whole.

    Both Buckley and Bale are all-in for their performances, which definitely fall in the “love it or hate it” dichotomy. Each scene is pitched so high that there’s little nuance to either of them, and neither is on par with their previous Oscar-caliber roles. The high-powered supporting cast of Bening, Sarsgaard, Cruz, and Jake Gyllenhaal is watchable based on previous roles, but none of them elevate this particular movie.

    Whatever intentions Maggie Gyllenhaal had in making The Bride! are only halfway legible in a film that can never find its tonal footing. There has rarely been subtlety in movies featuring Frankenstein’s monster and related characters, but this one makes all the others seem like stuffy dramas in comparison.

    ---

    The Bride! is now playing in theaters.

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