Oscars

Thursday

Nigel Havers

Will I be sidelined by AI?

I’ve been head down for the past few weeks, preparing for my one-man show. The title is catchy – Nigel Havers Talking B*ll*cks. I’m not sure this was a good idea because in every interview that I have done, I’ve been told that we can’t use this word on air. I seem to hear nothing but four-letter words on the TV these days, so I hadn’t realised that people would mind the bollocks. It seems to be more offensive than the entire four-letter cannon. I am obviously not down with the kids. I have never done anything like this before and have been worrying about three things: will anyone come;

Thursday

Deborah Ross

Smart, taut and stunning: Conclave reviewed

Conclave is a papal thriller based on the 2016 novel by Robert Harris and it stars a magnificent Ralph Fiennes. If he doesn’t win an Oscar I’ll eat my hat and also yours. Luckily, the film is also well written, smart, taut and visually stunning. You’d think the costume designer (Lisy Christl) wouldn’t find too much to play with, given it’s all vestments and cassocks, but they are gorgeous. The cardinals can be catty and bitchy and deceptive but I will say this for them: they know how to work red – and those little caps. The cardinals can be catty and bitchy but I will say this for them:

Monday

Alexander Larman

Is Will Smith too toxic to be taken seriously?

After 9/11, American comedians found themselves in a tricky situation. Make fun of any of the usual standbys of their trade – politicians, authority figures, Rudy Giuliani, anyone who wore a badge for a living – and they were liable to be shouted down in an angry chorus of: ‘Too soon!’ Yet if all the jokes they could tell were sanitised and tame, their reputations would decline in an instant. It was a bold comic who tried to argue that telling jokes was a natural human response to disaster; many audiences simply refused to find things funny. Will Smith now finds himself in a similar position. The one-time Fresh Prince

Tuesday

Monday

Monday

James Innes-Smith

‘Exciting’ has lost its meaning

Wow, can I just begin by saying how incredibly excited I am to be given this opportunity to write about such an awesomely exciting subject. Don’t worry, this isn’t the start of some interminable Oscars-worthy speech. In truth, I’m not remotely ‘excited’ at the prospect of writing this article about the overuse of the word ‘exciting’. That’s because I’m an adult and adults tend to temper their enthusiasm with cold, hard reality.  The last time I felt genuine excitement, as in jumping around the room wild-eyed and whooping, was as a child when I awoke to find one of my dad’s old socks stuffed with toys draped over the end

Thursday

Thursday

Deborah Ross

Didn’t deserve an Oscar: Coda reviewed

This year the Oscar for best film went to the drama Coda – ‘Child of Deaf Adults’ – but the ceremony will now probably only be remembered for Wsscrfmhw (‘Will Smith Slapping Chris Rock For Mocking His Wife’). And we thought that mix-up over envelopes was exciting! But back to the film, which beat the favourite, The Power of the Dog, although Jane Campion did win best director, making her the third woman ever to do so. That’s three women in 93 years of the awards. If we carry on at that rate, by the turn of the next century it may even be five. Coda is only viewable on

Joan Collins

Oscars diary: a jaw-dropping night

Oscar week is intense – and it’s been a while since it’s been as intense. The red carpet is full of eager paparazzi and interviewers waiting for a photo opportunity or a quotable gaffe. My husband and I went to a couple of parties, but the most coveted is the Vanity Fair Oscar viewing dinner at the Annenberg Center. About 100 people are invited by editor Radhika Jones, and we were delighted to be among the chosen few. The ceremony was long and snoozy, and people were scrolling down their phones for entertainment when suddenly one of the most celebrated actors in Tinseltown, Will Smith, rushed to the stage and

Tuesday

Damian Reilly

Will Smith’s slap was a triumph

Will Smith’s straight arm slap of Chris Rock at the Oscars was, for my money, the most interesting event ever to have transpired at any awards show in history. It pips even my previous favourite, which was when Jarvis Cocker ran onstage during the 1996 Brits to reveal his buttocks in protest at Michael Jackson’s ludicrously overblown performance of Earth Song. Did Rock ask to be attacked for humiliating Smith’s wife, Jada Pinkett-Smith, on account of her alopecia? Yes, of course. But that was the point. The joke was predicated entirely on the comic getting away with saying the unsayable – a formulation of words intended to be deeply provocative

Monday

Sam Holmes

What Will Smith’s slap means for comedy

Now this is a story all about how The Oscars got flipped-turned upside down. And I’d like to take a minute. Just sit right there. I’ll tell you how I told told a joke about a chick with no hair… Well, I think we all know what the opening routine of Chris Rock’s next Netflix special is going to be. Say what you want about the Oscars, this year people are certainly talking about them. But not about the movies, about the Fresh Prince himself, Will Smith, slapping comedian Chris Rock on a worldwide broadcast in front of the Hollywood elite. Like every British comedian, after I woke up and read the news, I ran

Saturday

Thursday

Toby Young

How to save the Oscars

This Sunday’s Academy Awards will be a litmus test of whether Hollywood can uncouple itself from the political agenda of young woke radicals that is proving so unpopular in the US. Joe Biden had a stab at it during his State of the Union address, criticising the ‘defund the police’ movement for fear of a Democrat wipeout in the midterms, and the New York Times did an astonishing volte-face last week, publishing an editorial in defence of free speech. A bit rich from the paper that recently forced out its most distinguished science reporter at the behest of its junior staff for using the n-word in a discussion about the

Thursday

Jasper Rees

'What do you think the English will say?' Pablo Larrain on his pop horror Diana film

It all looks ever so Sandringham. Formal evening garb, dining table the length of a cricket pitch, royalty nibbling in silence. As a tableau vivant it might be lit by Lichfield and styled by Hartnell. And yet something is awry. The beautiful princess feels stifled. She grabs at the tourniquet of pearls roped round her neck, whereupon it snaps. Huge gems plop into her gloopy green soup. Dauntlessly she dips a spoon in, feeds a pearl into her mouth and takes a pulverising bite. This royal Christmas is not normal for Norfolk. Spencer is the latest entertainment seeking to decrypt the myth of Diana, Princess of Wales. Its opening credits

Thursday

Deborah Ross

Anthony Hopkins’s portrayal of dementia will undo you: The Father reviewed

The Father is an immensely powerful film about dementia starring Sir Anthony Hopkins, who was asleep in his bed in Wales when his Best Actor Oscar was announced, so we’ll never know if his outfit would have been a hit or a miss. Shall we give him the benefit of the doubt and say ‘hit’? Either way, he is absolutely remarkable here. I read the screenplay, available online, out of curiosity, and what he brings to the words on the page is beyond and beyond and beyond. Hopkins has played King Lear (twice) but this is his real King Lear. What Hopkins brings to the words on the page is

Thursday

Deborah Ross

This film deserves all the awards and praise: Nomadland reviewed

Nomadland won multiple Oscars including Best Picture, Best Director and Best Actress, and if there’d been an award for Best Film In Which The Woman In Her Sixties Isn’t The Least Developed Character In The Screenplay, Hallelujah, About Time, it would have scooped that too. Not much competition, regrettably, but you have to admire the film just for that, plus there is much to admire generally. It is based on the non-fiction book Nomadland: Surviving America in the Twenty-First Century by the journalist Jessica Bruder, who spent months living with older Americans who, out of economic necessity, eke out a living while travelling from place to place for seasonal employment.

Tuesday

Brendan O’Neill

No wonder viewers are boycotting the Oscars

The Oscars are in trouble. People are switching off in their millions. A paltry 9.85m Americans tuned in to the 93rd Oscars on Sunday evening. Film and TV execs will be tearing their hair out. They go to all that trouble to put on a night of glamour and back-slapping and the little people don’t even bother to watch? The really surprising thing, of course, is that anyone is surprised. The Oscars has become insufferable in recent years. It’s gone from being a celebration of celluloid achievement to a three-hour finger-wag at the masses about everything from climate change to racial awareness. Why on earth would your average American tune

Sunday

Daniel Rey

It’s time to scrap the Best Actress Oscar award

If you tune in to the Oscars during the early hours of Monday morning, you’ll note – along with sickly fawning about contemporary motion pictures being high art, beautiful people in beautiful clothes, and the kind of feigned surprise that wouldn’t look out of place in a school production – two glaring anomalies in the line-up: ‘Best Actress’ and ‘Best Supporting Actress’. The Academy of Motion Picture Arts and Sciences has recognised a leading actress every year since 1929. It’s one of the oldest prizes for women in the arts. Back in the Twenties, when there was even less of a chance a studio would let a woman write or