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02/22/12--11:43: Academy Awards: Creepiest, Craziest Oscar Moments (VIDEO) (chan 1768130)

'Tis the season to gear up for the Academy Awards. And what better way to look back on Oscar history than to relish in the most creepy and crazy moments from years past. From Roberto Benenigni dancing on chairs to Anna Paquin's deadpan silence, or Adrien Brody's passionate unplanned kiss with Halle Berry to Jack Palance's one-arm pushups, we can only hope that this years Oscar winners will do something equally exciting. Check out the madness in the video above and let us know what you think is the craziest and/or creepiest moment. R.I.P. Angelina Jolie's borderline incestuous commentary on her brother.


02/22/12--11:59: 'American Reunion' Trailer: The Pie Franchise Reintroduces You To The 1990s (chan 1768130)

High-school reunions let you relive all the awesome (or completely horrible) moments you had as a teenager. It makes sense, then, that "American Reunion," the latest film in the "Pie" franchise, would take a trip down awkward-sex-memory lane to revisit some of the jokes from the first movie. In official trailer for "Reunion," Jim (Jason Biggs) stops by his childhood home, where he and his father (Eugene Levy) take a look through Jim's old stack of nudie magazines (one of which has a Y2K cover!). Then, of course, there's a scene where the guys make a toast at a bar, a moment where Stifler discusses his high-school dream of keeping "the party going with his boys," and plenty of other shenanigans inspired by the original "American Pie." You can check out the trailer above. "American Reunion," starring Biggs, Levy, Chris Klein, Thomas Ian Nicholas, Eddie Kaye Thomas, Mena Suvari, Alyson Hannigan and Tara Reid, hits theaters April 6.


02/22/12--12:01: Awards Show Challenge: 'Hugo' or 'The Artist' (chan 1768130)

On Sunday February 26, the biggest stars in Hollywood gather to bestow Oscars on the best movies of the year. With Billy Crystal hosting the festivities once again, movie fans will be watching how many Academy Awards are racked up by "The Help," "Hugo" and more. And since we won't know who wins the big gold until that 8pm ET start-time on February 26, this is your chance to test your award show expertise. Every weekday between now and February 24, we'll post new questions about what will happen on Hollywood's big night. (Right there on the right side of your screen) Submit your best guesses and you'll automatically be eligible for a daily prize of two free movie tickets. The grand prize -- a YEAR'S worth of free movie tickets -- will be awarded to a user with the most correct predictions.

Want to Win Free Movie Tickets For a Year? Keep Playing Awards Show Challenges Click here for rules.


02/22/12--14:01: Jean Dujardin's 'Farce Attaque' Video: 'The Artist' Star Features In Comedic Rambo Sketch From 1998 (VIDEO) (chan 1768130)

Honestly, I don't really know what's going on in this clip (two years of French classes: money well spent) other than that Jean Dujardin, your likely future Best Actor winner, is running through the jungle like he's Rambo. I'm starting to get the impression that Dujardin may have been holding out when he did that Funny or Die parody of all of the action movies that he was now being offered. The 1998 clip, from a French television series called "Farce Attaque," shows Dujardin in predicaments ranging from being whipped while tied to a tree to, well, yes, something involving a fart joke. Enjoy, America. Mike Ryan is the senior writer for Moviefone. He has written for Wired Magazine, VanityFair.com, GQ.com, New York Magazine and Movieline. He likes Star Wars a lot. You can contact Mike Ryan directly on Twitter


02/22/12--14:18: Oscar Hosts: From Worst To Best, Rating 60 Years Of Academy Awards Emcees (PHOTOS) (chan 1768130)

They've tried everything. One host. Two hosts. Four hosts. 32 hosts. Comic hosts. Serious-thespian hosts. Hollywood-legend hosts. Young hosts. Old hosts. Hip hosts. Square hosts. Singing-and-dancing hosts. Every year, it seems, the Academy Awards goes back to the drawing board to figure out what sort of emcee will keep the show lively, attract viewers (especially younger viewers) and keep them from flipping channels during the slow parts. It's a thankless gig; no wonder Billy Crystal, who's done it eight times, decided to sit out for eight years before agreeing to return to host this year's Academy Awards on Sunday night. The job requires a difficult and rare set of skills: a host must entertain both the Hollywood big-shots in the auditorium and regular folks at home. They can poke fun at the huge egos in the room, but can't deflate them with too much snark, and they can't be too inside-baseball. They may also have to take focus away from outside events, from talent strikes to wars and assassinations, that threaten to darken the celebratory mood. Most of all, they have to think quickly on their feet, since there's no telling what will happen during a live show broadcast to hundreds of millions around the world. Crystal seems to possess all these qualities in spades; so did Bob Hope, who hosted a record 18 times. To a lesser extent, so did such hosts as Whoopi Goldberg, Johnny Carson, Steve Martin, Jerry Lewis, and Jon Stewart, all of whom hosted multiple times. Others (like last year's unfortunate pair, James Franco and Anne Hathaway) did not. Below, we've rated from worst to best every host's performance for the last six decades, since the 25th annual ceremony, the first time Academy Awards were first broadcast on television. Read on to see how your favorite (and least favorite) Oscar emcees stand up. THE WORST 59. Nobody (1989) Yep, officially, at least, nobody is to blame for what's generally regarded as the Worst. Oscar. Show. Ever. Since there was no host, if you have to blame someone, blame producer Allan Carr, whose sins against taste began with the notorious opening number, a duet between non-singer Rob Lowe and an actress playing Snow White (much to the ire of Disney's lawyers). It only got worse from there. Strangely, this was one of the highest-rated Oscarcasts of the decade. Maybe people just couldn't look away from the train wreck. 58. James Franco and Anne Hathaway (2011) Oscar's youngest hosts served as a desperate reminder of how badly the Academy wanted to be seen as youthful, hip, and relevant. But he seemed bored to the point of catatonia (even though he was up for an Oscar himself, for "127 Hours"), while she compensated by being irritatingly manic. In the end, the show belonged to such oldtimers as Kirk Douglas, Billy Crystal, and the holographic ghost of Bob Hope. Crystal earned a minute-long ovation just for showing up; no wonder the Academy was so eager to have him back in charge in 2012. 57. Walter Matthau, Liza Minnelli, Dudley Moore, and Richard Pryor (1983) Veteran Oscar show writer Buz Kohan called this quartet of hosts the worst ever. As he explained to Entertainment Weekly, "I had written the opening number, called 'It All Comes Down to This.' They were all scared stiff, but ordinarily if you're scared, then you put in the time and rehearse. They took the opposite approach. So Liza was forced to carry the number, Walter was singing in his own zone somewhere, Dudley was just trying to walk down these steps without falling, and Richard Pryor well, I think they told him the next day that he was there." Pryor and Moore made things worse by bickering throughout the show over who was the higher-paid star. 56. Sammy Davis, Jr., Bob Hope, Shirley MacLaine, and Frank Sinatra (1975) In a sign of changing times, the Rat Pack-y group of old guard hosts found themselves in political hot water when the Best Documentary prize went to the anti-Vietnam War polemic "Hearts and Minds." After director Peter Davis and producer Bert Schneider's fiery acceptance speeches, Hope and Sinatra drafted a disclaimer from the Academy denying responsibility for any political statements made during the ceremony. MacLaine objected, but Sinatra read the statement anyway. Ol' Blue Eyes also made a point of praising those stars who still made movies "with your clothes on" and of disagreeing with young whippersnapper Dustin Hoffman, who had called the Oscars garish and embarrassing. If anything, Sinatra seemed to make Hoffman's point for him. 55. Ellen DeGeneres (2007) DeGeneres had shone as the host of other awards shows (particularly the 2001 Emmys, postponed twice after 9/11). But she was out of her depth here. "Since the Oscars have decided to go green," she said, "I've been told to recycle some of my old jokes." She seemed to have taken that literally, as her performance was a pale, lackluster retread of her previous awards gigs. 54. Chevy Chase (1988) Back at the Shrine Auditorium for the first time in 40 years, the show suffered from a lack of well-written material, thanks to a writer's strike that had begun a month earlier. Not that that kept the show from dragging out to three and a half hours. Chase began with an object lesson in how not to play to the room by saying, "Good evening, Hollywood phonies." He was never invited back. 53. Whoopi Goldberg (1999) This was Goldberg's third time emceeing, so she knew the drill, yet she seemed to have thought she was hosting a Friar's Club roast instead of the Academy Awards. Her patter was filled with off-color remarks (after removing her Queen Elizabeth I makeup, she said, "Who knew it was this hard to get a virgin off your face?"). After one of many blue jokes, she said, "You know, I might not be doing this show again, so let's just go right to the edge and go over. Whaddya say?" Surprisingly, she did get invited back, though not for another three years. 52. Jon Stewart (2006) The show began with a montage of previous hosts turning down the thankless gig, making Stewart look like the last guy standing after a game of musical chairs. He had some clever bits, including a "Daily Show"-like segment with Stephen Colbert featuring mock political negative Oscar campaign ads. Such fare went over well in the auditorium but seemed to get crickets from viewers at home. 51. Chris Rock (2005) Rock proved a little too edgy for the room, particularly his digs at Jude Law for his ubiquity and at second-choice actors (including himself). A textbook lesson on how, if it doesn't play to the insiders in the auditorium, it won't play to the folks at home watching the comedian die onstage. 50. David Letterman (1995) Not as horrible as you remember. Still, Dave's ironic, goofy, New York sensibility didn't play well among the serious-minded Hollywood folk in the auditorium, and their stony silence did not make for good TV. That Uma-Oprah joke was pretty lame, but it's still one of the most memorable Oscar gags of the last 20 years. 49. Chevy Chase, Goldie Hawn, and Paul Hogan (1987) Aussie Hogan, who was also a nominee for his "Crocodile Dundee" screenplay, had groused about having traveled 13,000 miles in hope of winning. (He did not.) The ABC telecast had the misfortune of competing against the NCAA Basketball finals on CBS. ("Is the game over yet?" Chase joked.) This would be the last time the Academy would hire multiple hosts until Alec Baldwin and Steve Martin in 2010. 48. Alan Alda, Jane Fonda, and Robin Williams (1986) Replacing the likes of Johnny Carson and Jack Lemmon with the hipper, zippier Williams didn't help stop the Oscar show's ratings slide. New producer Stanley Donen, director of many classic MGM musicals, added a bunch of song and dance numbers that -- along with Cher's notorious midriff-baring punk-priestess gown, stole most of the thunder from the three underwhelming hosts. 47. Jack Lemmon (1985) With the previous year's show having run nearly four hours, host Jack Lemmon gamely tried to keep things moving, but the telecast still ran ten minutes over three hours. This was one of the lowest-rated Oscar shows of the decade, though everyone seems to remember it now for Best Actress winner Sally Field's "You like me!" speech. 46. Whoopi Goldberg (2002) During the first Oscar show broadcast from the Kodak Theatre, Goldberg presided over a historic night for black stars, with Halle Berry becoming the first African-American Best Actress winner, a Best Actor win for Denzel Washington, and an honorary Oscar for Sidney Poitier. It was also the first Oscars after 9/11, so the whole evening had a somber tone. For all her wit and apparent pride in the achievements of her fellow black actors, Goldberg could not enliven the deadly pace. Clocking in at four hours and 23 minutes, this was the longest Oscar ceremony ever. 45. Billy Crystal (1993) In a nod to the most memorable moments of the previous year's ceremony, Crystal was pulled onto the stage of the Dorothy Chandler Pavilion astride a giant Oscar, tugged by Jack Palance. That may have been the last really good joke of the evening. Crystal had been reluctant to do the gig for a fourth straight year, and his reluctance showed in his performance. 44. Johnny Carson (1984) After the 1983 debacle, the reliable Carson was brought back for a fifth time. Nonetheless, not even he could keep the show from dragging on for an interminable three hours and 42 minutes. "This is the Academy Awards," Carson told home viewers. "Warning: contents may cause drowsiness; do not drive or operate heavy machinery." Best Actress winner Shirley MacLaine landed a better joke during her acceptance speech, saying, "I'm going to cry, because this show has been as long as my career." 43. 32 "Friends of Oscar," including Merle Oberon, Steve McQueen, Jeanne Moreau, Bob Hope, Maggie Smith, Walter Matthau, Joan Blondell, and Janet Gaynor (1971) By now, the "Friends of Oscar" gimmick was getting out of hand. Still, it was a treat to see some golden-age stars taking the podium, including Oberon and Gaynor, the winner of the first-ever Best Actress Oscar. 42. Warren Beatty, Ellen Burstyn, Jane Fonda, and Richard Pryor (1977) Producer William Friedkin seemed to have picked this quartet of countercultural firebrands to thumb his nose at the Bob Hope generation of Academy members. Pryor lived up to his billing by joking that there were no black people watching the show and only a couple among the Academy voters, so African-Americans might just as well opt out of the Oscars altogether. "You'll have to listen to Lawrence Welk," he quipped. Burstyn wore a man's tuxedo. 41. Goldie Hawn, Gene Kelly, Walter Matthau, George Segal, and Robert Shaw (1976) This was the year of "One Flew Over the Cuckoo's Nest"'s historic sweep of the top five awards, a night whose poignant highlight was Best Actress winner Louise Fletcher's sign-language speech, in honor of her deaf parents. Given that, who remembers anything said or done by any of these hosts? 40. Carol Burnett, Michael Caine, Charlton Heston, and Rock Hudson (1973) Heston was a few minutes late to the show, thanks to a flat tire, and Clint Eastwood was pressed into service as an emergency alternate. That mishap was all but forgotten by the end of the ceremony, remembered today for Marlon Brando's rejection of his "Godfather" Oscar and his sending Sacheen Littlefeather in his place to read his protest statement about Hollywood's treatment of Native Americans. After that left the audience at the Dorothy Chandler Pavilion in a stunned silence, there was really nothing the hosts could do to restore a celebratory mood. 39. Jack Lemmon (1964) As in the previous year, a sponsor conflict kept Bob Hope sidelined, leaving Lemmon as an able host -- though he wasn't as funny as presenter Sammy Davis Jr. Handed the wrong envelope, Davis cracked, "Wait until the NAACP hears about this!" 38. Frank Sinatra (1963) First, a sponsor conflict kept Bob Hope from his usual emcee duties, then a parking dispute (over a forgotten security sticker) almost kept new host Sinatra (who was driving his own car) from the site of the show. 37. Bob Hope (1967) Hope found himself upstaged by dancers, particularly Mitzi Gaynor (doing an energetic rendition of the nominated theme from "Georgy Girl") and presenters Fred Astaire and Ginger Rogers, who took advantage of their momentary reunion to ad lib a few steps. 36. Bob Hope (1966). Hope had to compete with the lavish set design created for the first color telecast of an Oscar show, including 42 onstage fountains. He also registered surprise when presented with a medal from the Academy governors for his years of service. 35. 17 "Friends of Oscar" -- Bob Hope, John Wayne, Barbra Streisand, Fred Astaire, Jon Voight, Myrna Loy, Clint Eastwood, Raquel Welch, Candice Bergen, James Earl Jones, Katharine Ross, Cliff Robertson, Ali MacGraw, Barbara McNair, Elliot Gould, Claudia Cardinale, and Elizabeth Taylor (1970) In an expansion of the previous year's "Friends of Oscar" gimmick, there was no single emcee, but rather, a rotation of 17 hosts. Taylor probably got the most attention of all of them, as she was sporting a $1.5 million diamond. 34. Donald O'Connor and Fredric March (1954) O'Connor effectively managed a show where presenters were literally phoning it in from far-flung locations (Shirley Booth in Philadelphia, Gary Cooper in Mexico). It was up to the "Singin' in the Rain" star, however, to read the winners' names when the remote presenters had finished. March continued the tradition of having someone more distinguished than funny host the New York portion of the show. 33. "The Friends of Oscar" - Ingrid Bergman, Diahann Carroll, Tony Curtis, Jane Fonda, Burt Lancaster, Walter Matthau, Sidney Poitier, Rosalind Russell, Frank Sinatra, and Natalie Wood (1969) In a year of big changes, including a new venue (the Dorothy Chandler Pavilion), there were 10 hosts, not one of whom was named Hope (though ol' Bob did make a brief appearance, earning a standing ovation in the process). Carroll and Poitier became the first two black performers to host an Academy Awards ceremony. 32. Bob Hope (1965) Back in the saddle after a three-year absence, Hope was a welcome sight as he presided over the last black-and-white Oscar show. 31. Bob Hope (1968) If Hope was rattled by the assassination of Martin Luther King a week earlier (which forced the postponement of the Oscarcast by a few days), he didn't show it. This was his 14th time hosting, and it was a smooth, star-studded affair (thanks largely to Academy president Gregory Peck, who cajoled 18 of the 20 acting nominees to show up). 30. Steve Martin (2003) With the Iraq War having started days earlier, no one felt much like celebrating (except for Best Actor Adrien Brody, planting his now-famous smooch on surprised presenter Halle Berry). Martin helped lighten the mood by poking fun at doctrinaire Hollywood's political correctness. Most memorably, after Michael Moore's strident "Shame on you, Mr. Bush!" speech, Martin got in a quick save, quipping, "It was so sweet backstage, you should have seen it. The Teamsters were helping Michael Moore into the trunk of his limo." 29. Hugh Jackman (2009) The Aussie song-and-dance-man/mutant superhero was game and energetic, making up in charm and razzle-dazzle what the show lacked in humor or glitz (as in the deliberately low-rent opening medley). But the declawed Wolverine could do little to slash and trim the lugubriously paced show. 28. Alec Baldwin and Steve Martin (2010) Having young, energetic Neil Patrick Harris do the opening number probably wasn't the smartest idea; it only served to make viewers wonder why he wasn't emceeing instead of the two old fogeys. Still, the rival "Saturday Night Live" guest hosts played off each other well (displaying a carefully crafted mock friction), and both proved masters of sharp, deadpan comic delivery. 27. Whoopi Goldberg (1994) With Billy Crystal refusing to host a fifth straight show, recent Oscar-winner Goldberg was an inspired choice, the first woman and the first African-American to host the show solo. Her humor was sharper-edged than Crystal's, but she added a needed edge of unpredictability to a night (dominated by "Schindler's List" and "The Piano") of predictable prize-giving. 26. Steve Martin (2001) Martin introduced his off-kilter humor to the Academy Awards with such quips as "Hosting is like making love to a beautiful woman. It's something I only get to do when Billy Crystal is out of town." Despite the popularity of some of the nominated movies (including the blockbuster "Gladiator," which won Best Picture), Martin couldn't drum up enough interest in the show to beat CBS' then-new reality hit "Survivor," a situation Martin made light of with a joke that one of the Oscar show stars was to be voted out of show business. 25. Johnny Carson (1981) "Welcome to Hollywood's version of 'Ordinary People,'" said Carson, who spent the night deftly skewering celebrities without leaving a mark. "Marlon Brando starred in 'The Formula,'" Carson observed, "a searing indictment of the greed of the oil companies. For this Brando was paid a million dollars for three days work." Carson did a fine job of keeping things light, given that the ceremony had been postponed because of the assassination attempt on President Ronald Reagan. 24. Johnny Carson (1980) Referring to both the ever-expanding length of the ceremony and the Iranian hostage crisis, Carson joked that President Jimmy Carter was negotiating for the audience's release from the Dorothy Chandler Pavilion. Bonus points for managing to banter with Miss Piggy, miffed for not being nominated for "The Muppet Movie." 23. Bob Hope (1961)It was another evening of firsts: the first time the telecast was carried by ABC instead of NBC, and the first time the show was held at the Santa Monica Civic Auditorium (it had outgrown the Pantages Theater in Hollywood). Hope, however, seemed unfazed by the changes and was his usual, wisecracking self. 22. Bob Hope (1962) Hope proved unflappable when a gatecrasher managed to make it past 125 uniformed policemen and race all the way to the stage, where he presented a handmade Oscar to the bemused host. Quipped Hope, "Who needs Price Waterhouse? What we need is a doorman." 21. Bob Hope and Thelma Ritter (1955) This was a rushed, abrupt show; in an experimental move, the nominees' names were scrolled at the beginning of the telecast instead of being read by the presenter before each award. Nonetheless, Hope was up to his usual high standards; a memorable bit had him fighting over an Oscar trophy with Marlon Brando. Wisecracking Ritter, emceeing in New York, had the dubious pleasure of presenting an Honorary Oscar to no-show Greta Garbo; stage actress Nancy Kelly accepted it on the reclusive screen icon's behalf. 20. Bob Hope and Conrad Nagel (1953) For the first televised Oscars, Hope not only emceed but also stood outside in the rain (along with pal Ronald Reagan) to greet the arrivals. Having already embraced the new medium of TV (and having been shunned by Hollywood for having done so), Hope proved a natural. Former Academy president Nagel, who (like Hope), had hosted the Oscars several times himself in the days before TV, brought some gravitas to the New York segment of the bicoastal show, a mini-ceremony that had long been held as a courtesy to nominated performers who were busy on Broadway. But the main attraction was the stars, many of them making their TV debuts, and more of them than had ever been seen on a single broadcast. The show drew 34 million viewers, the largest audience the new medium had yet seen. 19. Jon Stewart (2008) Despite his 2006 flop sweat, Stewart was invited back, and this time, his edginess fit the tone of the material up for honors (grim, indie-style movies like "No Country for Old Men" and "There Will Be Blood"). "Does this town need a hug?" he mused. Classiness points to Stewart for calling back Best Original Song co-composer Marketa Irglova ("Once") to give the acceptance speech that the orchestra had cut short. 18. Billy Crystal (2004) Crystal's eighth and final at-bat (until this year) enlivened an extremely predictable show, marked by a sweep for "The Lord of the Rings: The Return of the King." He simply turned the show's foregone conclusion into a running gag about the Kiwi production's endless series of trophy moments. Sample joke: "Do you know that people are now moving to New Zealand just to be thanked?" 17. Sammy Davis Jr., Helen Hayes, Alan King, and Jack Lemmon (1972) After the previous year's horde of hosts (32 of them!), four seemed a more manageable number. Lemmon got the best task: handing out an honorary Oscar to 82-year-old Charlie Chaplin, newly returned to America after 20 years of exile. The silent comic's award presentation was one of the emotional highlights of all of Oscar history. 16. Jerry Lewis and Celeste Holm (1957) Holm hosted the New York portion of the show, but most of the heavy lifting fell to Lewis, from bantering with 10-year-old "Bad Seed" star Patty McCormack (then the youngest Oscar presenter to date) to easing America into the idea of accepting Dorothy Dandridge (the first African-American woman to perform a musical number on an Oscarcast) in place of absent Doris Day. 15. Bob Hope (1960) For the first time in the TV era, Hope got to host all by himself, and he also picked up the Jean Hersholt Humanitarian award the same night. It was also the last Oscar telecast to run commercial-free. The evening was fairly tame, perhaps due to producer Jerry Wald's edict against excessive cleavage; citing viewer complaints from the previous year, he stashed a seamstress backstage "with enough lace to make a mummy." Still, it was a miracle that the show went on, given that the Screen Actors Guild (under its president, Ronald Reagan), had recently gone on strike. Hope quipped that he never imagined a day when the only working actor would be Ronald Reagan. 14. John Huston, David Niven, Burt Reynolds, and Diana Ross (1974) Niven turned a potential embarrassment into one of the most memorable moments in Oscar history after a streaker crashed the stage. Niven's instant response: "Isn't it fascinating to think that probably the only laugh that man will ever get in his life is by stripping off his clothes and showing his shortcomings." 13. Jerry Lewis, Claudette Colbert, and Joseph L. Mankiewicz (1956) A new sponsor (Oldsmobile) meant a new host (sorry, Chrysler spokesman Bob Hope), and Lewis fit the bill, with snappy timing and quick wit that would have done Hope proud. In New York, movie goddess Colbert and "All About Eve" screenwriter/director Mankiewicz didn't have to do much besides introduce Eddie Fisher, who sang the nominated theme from "Love Is a Many-Splendored Thing" while accompanied by an orchestra performing in Los Angeles. 12. Johnny Carson (1982) "This is the night that Hollywood puts aside its petty jealousies," said Carson, "and brings out its major jealousies." It was mostly, however, a night to honor Hollywood's old guard, with nominations and victories for such AARP-eligible stars as Henry Fonda, Katharine Hepburn, John Gielgud, Maureen Stapleton, Burt Lancaster, and Paul Newman. Even oldtimer Loretta Young showed up and chastised modern Hollywood for its "shocking themes" and "gutter language" before presenting Best Picture to the squeaky-clean British movie "Chariots of Fire." Joked Carson, "Who would have thought that, in 1982, Burt Lancaster would be voted Best Newcomer?" 11: Billy Crystal (2000) By now, seven-time host Crystal had it down to a science. His usual Best Picture medley included a lyric parodying Barbra Streisand's "People" in order to spoof "The Sixth Sense": "People/Kids who see dead people/Are the spookiest people in the world." He even managed not to get lost in the forest of 40-foot-tall video screen towers, part of one of the most technically ambitious Oscar productions ever. Still, not even Crystal's rapid-fire wit could keep the show from passing the four-hour mark. 10. Bob Hope (1978) For the 50th Oscar ceremony, who else but Hope should host? For the 18th (and what turned out to be the last) time, Hope presided over a star-studded evening that (aside from Vanessa Redgrave's poorly received "Zionist hoodlums" speech) ran smoothly and attracted the Academy Awards' largest viewing audience yet. 9. Bob Hope, Jack Lemmon, David Niven, Rosalind Russell, James Stewart, and Donald Duck (1958) Yep, Donald Duck, who co-hosted the 30th Oscar ceremony via the magic of pre-taped animation. Despite having six hosts, the show managed to keep to a strict timetable, which was good, since it was the first Oscar show ever telecast live. It was also the first Oscarcast to drop the East Coast portion of the show and air exclusively from Hollywood. And it was the first to run without commercials (the Academy sponsored the broadcast by itself), so there was no time for anyone onstage to take a breather. 8. Johnny Carson (1979) A natural heir to Bob Hope (whose 18th and final Oscar emcee gig was the year before), the "Tonight Show" host knew exactly how to play to the crowd, with a mix of flattery, snark (his best-remembered quip was: "I see a lot of new faces...especially on the old faces"), and self-deprecation (jokes about his own failed movie career became his running gag, a la Hope's jokes about his repeated failure to win a competitive Oscar). No wonder the Academy let him have the gig for four straight years. 7. Bob Hope, Jerry Lewis, David Niven, Laurence Olivier, Tony Randall, and Mort Sahl (1959) Lewis was the MVP in this bizarre event, the shortest Oscar ceremony ever televised. Producer Jerry Wald had so rushed the presentations that, when the Best Picture prize was handed out to "Gigi," there were still 20 minutes of airtime left, and Lewis and the other stars had to vamp to fill it. Eventually NBC cut away to a sports broadcast about target shooting. 6. Billy Crystal (1997) Here, Crystal introduced the lasting innovation of the opening film montage, in which he spliced himself into footage of the nominated movies, a la then-recent Best Picture winner "Forrest Gump." (Bonus points for including a David Letterman cameo.) It's easy to forget now what a hilarious shock this seemed at the time. 5. Billy Crystal (1998) It was the most-watched Academy Awards show of all time, thanks to viewer rooting interest in the biggest movie of all time, "Titanic." It was also the 70th Oscars, and the show celebrated by bringing together seven decades worth of Oscar-winning actors for a group portrait. Crystal was as snappy and witty as ever ("Matt Damon is so young, the results in his category were tabulated by Fisher-Price Waterhouse"), but he also went out of his way to show reverence to the legendary performers present, even going so far as to pay homage to 1933 "King Kong" star Fay Wray, seated in the audience, making sure she got an ovation, too. Classy. 4. Billy Crystal (1991) In his second year hosting, Crystal entered on horseback -- a cheerfully shameless plug for his movie "City Slickers," but also the beginning of what would become a tradition of elaborately theatrical entrances. He was rewarded with two Emmys: one for writing and one for his performance as emcee. 3. Billy Crystal (1990) "Are you happy to see me or are you just glad I'm not Snow White?" With that quip, Crystal began his reign as the contemporary era's favorite Oscar host. He started with the parody medley of songs celebrating the five Best Picture nominees, which has since become his trademark. The "Around the World in 3 ½ Hours" gimmick, involving live-via-satellite segments of tired-looking stars opening the envelopes in various world capitals, was a time-waster, but no one held that against the genial host, who would be asked back eight more times. 2. Whoopi Goldberg (1996) After the 1995 Letterman debacle, the '96 show looked to be an even bigger disaster, with Rev. Jesse Jackson leading protests on the grounds that Hollywood and the Academy were snubbing African-Americans. (This in a year when Goldberg was hosting and Quincy Jones was producing the show.) But Goldberg deftly exorcised Letterman's ghost (her first words: "So, did you miss me?") and defused the controversy with wit and a renewed focus on the nominees. (Best joke: "Elisabeth Shue played a hooker. Mira Sorvino played a hooker. Sharon Stone played a hooker. How many times did Charlie Sheen get to vote?") The result: one of the most fondly remembered Oscarcasts of modern times. THE BEST Billy Crystal (1992) In his most unforgettable entrance, Crystal was wheeled onto the stage in a hand truck, muzzled like Hannibal Lecter. (The gag was prophetic, given the historic "Silence of the Lambs" sweep that night.) He proceeded to be his usual tireless, sharp self, and his septuagenarian "City Slickers" co-star Jack Palance's feat of one-armed pushups during his Best Supporting Actor acceptance speech inspired for Crystal (and his writers) the best series of running-gag ad libbed one-liners in Oscarcast history. Who'd have known that Crystal was so sick with flu that he'd missed the dress rehearsal? His trouper's turn was the performance against which all Oscar hosting turns should be measured. PHOTOS:


02/22/12--14:44: 'Shame' 'Den Of Sin': Fliers Warn Moviegoers About South Carolina Theater Showing Michael Fassbender Indie (VIDEO) (chan 1768130)

An NC-17 rating is often the kiss of death for a movie, but one South Carolina theater is seeing boffo business for "Shame" after fliers that condemn the film started popping up around town. The fliers dub the Nickelodeon theater a "den of shame" and caution people not to see the movie, which features ample sex scenes and full-frontal nudity from lead Michael Fassbender. The 75-seat art-house theater (no relation to the kid-friendly network) has seen business go up since the flier controversy. Two locals interviewed by WLTX Channel 19 admitted the negative ad, which warns that the film will "offend your sensibilities," only made them want to see the movie more. Since the flier lists the exact address and dates the film is playing and is posted right outside the "den of sin" in question, could it be the Nickelodeon itself is behind the campaign? See the video above and decide for yourself. [via Movieline]


02/22/12--15:37: What Is 'Extremely Loud And Incredibly Close'? Oscar Nominees 2012 Guide (chan 1768130)

"Extremely Loud & Incredibly Close" Nominated For: Best Picture, Best Supporting Actor (Max Von Sydow) What's It About: Based on the novel by Jonathan Safran Foer, "Extremely Loud and Incredibly Close" follows Oskar Schell (Thomas Horn), a young boy who -- after losing his father (Tom Hanks) in the terrorist attacks on Sept. 11 -- finds a key in his dad's closet. With the help of a mysterious older man named "The Renter" (Von Sydow), Oskar travels around Manhattan looking for the lock that the key belong to, convinced it was left behind as a sign from his father. Why You Should See It: Despite having some of the worst reviews ever for a Best Picture nominee, "Extremely Loud and Incredibly Close" isn't all bad. Hanks, Von Sydow, Sandra Bullock and Jeffrey Wright all give wonderful performances, and while Horn's Schell is an irritating lead character, the film still hits the right emotional beats. Those concerned about the 9/11 factor, shouldn't be; "Extremely Loud" handles the national tragedy as best can be expected. It's Kind Of Like: "Hugo" mixed with "The 25th Hour," but not as good as either. How You Can See It: Out in theaters now.


02/23/12--05:04: Sacha Baron Cohen Banned From Oscars For Possible 'Dictator' Stunt? (chan 1768130)

Has Sacha Baron Cohen been banned from attending the Academy Awards on Sunday night? After word spread quickly on Wednesday that Cohen was planning to arrive on the red carpet for the ceremony dressed as his character from "The Dictator," Deadline.com's Nikki Finke reported that the prank-happy star had his tickets revoked. The Academy later refuted those claims, telling the Los Angeles Times that no decision had yet been made about Cohen's credentials. (Finke later refuted that claim, writing that the Academy was backpedalling in the face of public outcry.) The comic was/is set to appear at the Oscars to help support "Hugo," where he co-stars as The Station Inspector. Of course, whether Cohen ever intended to show up on the red carpet dressed as General Aladeen, the ousted North African despot at the center of "The Dictator," remains to be seen. "Friend tells me Sacha Baron Cohen never had any plans to attend Oscars dressed like 'The Dictator' & he's loving the free publicity 4 the film," Variety reporter Jeff Sneider wrote on Twitter. Tune in on Sunday night to see if Cohen actually shows up. "The Dictator" is in theaters on May 11. [via Deadline.com, LAT/24 Frames]


02/23/12--05:23: 'Brave' Trailer: Pixar's Heroine Princess Merida Shows Off Her Archery Skills (chan 1768130)

Last November, audiences were introduced to Pixar's first heroine, Princess Merida, in the trailer for "Brave." She was feisty, she was witty and she was, um, brave! In the newest clip from the film, fans get a quick and important lesson: When it comes to archery, don't test Merida's skills. The two-minute video features a competition to win the hand of the Princess. Unfortunately for the participants, Merida would rather take her destiny in her own hands by showing the suitors a thing or two about shooting a bow and arrow. This leaves her mother, Queen Elinor, none too pleased. "Brave" tells the story of Merida, who, after defying an age-old custom, hopes to undo a beastly curse. The film, starring Kelly Macdonald, Julie Walters, Billy Connolly, Emma Thompson and Craig Ferguson, hits theaters on June 22. [via Apple]


02/23/12--05:29: Lady Be Good (chan 1768130)

Ever since my cousin Kate Middleton became a duchess, I've been more interested in my British roots. So I saw The Iron Lady. Now I know almost as much about the United Kingdom as I do about England. If I've said it once, I've said it 18 times, Meryl Streep is brilliant as Margaret Thatcher. I said it would earn her an Oscar nomination and it did. I can't believe how unbelievably believable she was. I don't know how she did it. Not only does she sound and act like Margaret Thatcher, Meryl also plays her across a few decades. I always knew she was good, but after watching this performance, I think she might be a witch. Whenever someone asks me who should portray me in the movie of my life, I always say the same person -- Taylor Swift. We're practically the same person. But I'd also love to see Meryl Streep play me. She's so good with accents and physicality. Let me tell you, dancing up a flight of stairs isn't as easy as it looks. She really is the greatest actress of our time, and this may be her best performance yet. I can't wait to see what happens on the big night!


02/23/12--05:56: Oscar Predictions: Awards Night Pool Picker For Best Actor, Best Adapted Screenplay And More (VIDEO) (chan 1768130)

It's Oscar week here at Moviefone and than can mean only one thing: Awards Night Pool Picker! Here's your chance to let Huffington Post executive entertainment editor Michael Hogan, CinemaBlend editor-in-chief Katey Rich, Mr. Moviefone and Moviefone editor Christopher Rosen (me!) help you win your Oscar pool. Whether it's for bragging rights or a little extra spending money, Moviefone is here to help you fill out an airtight Oscar ballot. (Get your printable ballot right here.) Find out who will take home Best Actor, Best Adapted Screenplay, Best Visual Effects and Best Makeup in the fifth episode of Awards Night Pool Picker. Check back throughout the week for the rest of the videos in this series. EARLIER: Episode 1: Best Director And More Episode 2: Best Supporting Actress And More Episode 3: Best Supporting Actor And More Episode 4: Best Actress And More


02/23/12--07:07: Gwen Harmon, National Civil Rights Museum Rep, Discusses Accuracy Of 'The Help' (chan 1768130)

Oscar "for your consideration" campaigns are nothing new, but Disney's take on marketing its Oscar-nominated film, "The Help," might make you pause. With offers to cover town hall-style meetings about the film's power to create social change, language describing the film as a "social awakening," and comparisons to classic films, it's hard not to wonder about the authenticity of those claims. Which is why Moviefone called Gwen Harmon, Director of Governmental and Community Relations at the National Civil Rights Museum in Memphis. Turns out, Gwen didn't just offer background on the historical touch points explored in "The Help," but she also grew up in Jackson, Mississippi -- the town where the film is set. Gwen described her very personal journey with the material, as well as the context in which the movie fits into our present social subconscious - all apropos thoughts before seeing the four-time-nominated film make a showing at this Sunday's ceremony. You've seen "The Help" - what did you think of it? I've seen it and I've read the book. I am from Jackson, Mississippi so I read the book first. I thought it was an excellent piece of work. The book was good, engaging. The movie -- of course the cast -- was just phenomenal, well-represented. Viola Davis and Octavia Spencer just did a tremendous job of bringing those characters to life. So that was to me very authentic, how they did that and how they captured the whole moment of that mood back in the 1960s. In order to ramp up Oscar consideration, Disney has been sending out a bunch of emails inviting folks to town hall-style discussions and calling the film "a social awakening" that incites "social change." In the text they compare "The Help" to classics like "To Kill a Mockingbird," "In the Heat of the Night," "Guess Who's Coming to Dinner" and "Norma Rae." Do you think it stacks up with those greats? I'm not sure if "The Help" will go down as a classic such as "To Kill a Mockingbird." And I say that because "To Kill a Mockingbird" reached literary status first, and then the film followed in the shadow of that. I don't know if the book by Kathryn Stockett will reach that kind of height. But what I think that film does...in this time and space, is for our particular generation -- especially for younger children who don't quite understand what that history was like -- it's a teaching moment. And I think that perhaps what they see today -- nannies and people who serve as butlers and maids and "household managers" as they put it now -- that they understand that these people are still people. They are doing a job of service and every job has dignity. And people should be treated with that kind of respect and dignity -- I'm hoping that's the teaching moment that comes off from "The Help." Another point, too, is that these other films that Disney is touting "The Help" to be like -- they came out much closer to the time periods they depicted. And "The Help" did not. I know you consider the movie a teachable moment, but do you think this type of film depicting that time period is important for us to see now, or do you feel that there are more current issues that should be tackled? I think this world is in so much trouble that there's enough room for every right to be highlighted. Every issue should have a moment in the spotlight. But there's no way to hold one aside and say, "Maybe it's too late" or, "How do we connect with today's audience?" because I think the popularity of the film connected tremendously with today's audiences. And people were probably surprised about that. The theater -- the one that I went to anyway -- was a generational representation of women and men who were teenagers to grandmothers. And that's when you have a real connection with an audience -- that's when you really bring about social change. You have to connect throughout the generations. And so even though it happened back in the sixties,I think right now, [in] America, there's a sting there when it comes to class. The "haves" versus the "have nots," those who are there to serve us...I think until we start bridging that gap today -- and hopefully films like "The Help" will help us do that -- as a society we're going to remain in a lot of trouble. As far as the historical accuracy goes - "The Help" includes the Medgar Evers assassination, an actual historical event, but I'm curious to know of other things in the film that are accurate, and maybe others that aren't so much. For example: having separate bathrooms for the help - is that something that really happened? Well, there was a social line you did not cross if you were a black person working for a white family. Certainly you did not eat in the dining room with the white family -- you ate in the kitchen. In some households, you didn't use the same flatwear or table settings. There were a lot of rules -- it depended on who the lady of the house was and how liberal she was. But certainly there were some strict limitations, some strict racial limitations. What about the character Hilly Holbrook's "Home Help Sanitation Initiative" - is that based on anything factual? That was a creative liberty. But all the Jim Crow laws...which were, you know, blacks could not sit at the front of the bus -- and that created the Montgomery Movement, and that was led by maids. If you understand the history of that movement in 1955 in Montgomery, Alabama -- Dr. King's first movement -- 70 percent of the bus patrons in Montgomery were black women who were maids. And with 70 percent of your customers not riding the buses for 13 months, it brought that system to its knees. So that represents to me just how powerful a network those women really had when they stood together. You mentioned earlier that you're from Jackson, Mississippi -- where "The Help" takes place. Did you or anyone you know have similar experiences to those depicted in the film? There's a scene where they show the black movie patrons going up to the balcony to be seated in the movie theater. That brought back a lot of memories. We sat in the balcony - we weren't allowed to sit down in the larger theater seats. The balcony only would seat about 50 people and it was dark and tight, and then the downstairs was just like a regular movie theater. Not being able to go into a restaurant and order food through the front door -- you had to go through the back door. So there were some painful memories, there were some accurate memories. That part of it hit home for a lot of the people who went to see it, from Mississippi. They remember those days very clearly. Did you just grow up knowing that was the way things operated? Or did your parents have to explain it to you? I'm struggling to understand how any parent would explain that system to a child. You grow up knowing as a child that there's certain things you can and cannot do because of your color. Your parents and your grandparents explain it, of course every child questions why. And the most common answer you'd get is that's just the way it is. And I think for my generation, there was always a quiet moment of waiting -- because we knew that wasn't a good enough answer. So you kept waiting for the day, the year, the moment when "That's the way it is" wasn't good enough. And they came in a series of different moments -- it came in the Montgomery Bus Boycott, it came in the lunch counter sit-ins, it came with the Freedom Riders. And that's when you saw that generation of 20-something-year-olds becoming very active in the movement. Standing up and against that "It's just the way it is" saying, "No, it's not the way it is -- it's not the way it's going to be." Have you ever advised any Hollywood productions? We've actually had a couple studios come to our site to film some scenes. And before they'd do it they'd let us read the script and would ask us about certain aspects of what they were doing. Do you have any words of encouragement for Viola Davis and Octavia Spencer, since they're both up for Oscars this coming Sunday? We're very proud of the way that they portrayed the women in the film. It was accurate, it was done with dignity and compassion - we saw our mothers, our grandmothers, our aunts, our neighbors, our church members in their portrayals. And we're just very proud of them and their work, and we're very proud of the film.


02/23/12--07:33: Michael Stuhlbarg On 'Hugo,' Working With Scorsese And Season Three Of 'Boardwalk Empire' (chan 1768130)

There's a scene in season two of "Boardwalk Empire" where Arnold Rothstein, played by Michael Stuhlbarg, gives Nucky Thompson a little gambling lesson. It's one of the many cold, calculating moments from the normally stoic Rothstein. Which is why the actor's role in the family-friendly "Hugo" likely came as a shock to "Boardwalk" fans. In the Best Picture-nominated film, Stuhlbarg plays Rene Tabard, an author obsessed with the works of filmmaker Georges Melies. While Rene is far from the criminal mastermind the 43-year-old actor portrays on the Emmy-winning HBO series, Stuhlbarg's ambition and dedication to the character still shines through. Moviefone recently spoke with the actor about his experience on "Hugo," working with Martin Scorsese, and playing an alien in "Men in Black 3." Also, good luck getting any "Boardwalk" season three news out of him -- he doesn't "know anything yet." One of the many great things about "Hugo" is the attention to detail -- especially with regard to the sets and props. What was your reaction to seeing these things up close for the first time? It was like being in a pop-up book, except it was real life. They were so remarkably real and detail-oriented; every aspect had been thought through. It was like being a child in a funhouse -- you're just sort of walking around agog. You didn't have to do anything, it was all done for you. That's part of the joy of getting to do a movie like this: submerging yourself in a world that they created that all came from Brian Selznick's book ["The Invention of Hugo Cabret"]. Extraordinary. Just extraordinary. Did you have a particular favorite set? I got to visit a couple of the sets that I wasn't personally in; the train station was just stunning. It was enormous -- it looked like Grand Central Station. Size-wise, it was probably around the same size. It was just amazing. I was also privy to get to visit some of the other sets like Hugo's bedroom and Monsieur Labisse's bookstore, which was really beautiful as well. A lot of my sets were real locations. The library was this extraordinarily beautiful library in France that looked like it was out of a storybook. They were all beautiful places to explore. My character's own office, that he brings the children into, with all the memorabilia in it, was like a museum. Other than the sets, what was the best thing about working on this movie? I think it's always a challenge to adapt a beautiful literary work into a fresh, alive film. I think being a part of that process of trying to capture the essence and the joy of a piece of literature and trying to give it it's own fresh life, I think the film succeeds that way beautifully. I feel like that was a tremendous part of this process, of learning what the adaptation process is about. Also, the sense of bringing life to something is always a challenge. But I love the story, I love learning about [Georges] Melies and the first movies ever made, and to get the chance to explore that was perhaps a little less cynical than the world we live in today. Your character's completely jubilant when he meets Georges, both as a child and as an adult. Is there someone for you personally that would elicit that type of reaction? Oh my goodness, I have many heroes. You know, getting to be with Marty -- I grew up admiring his films all my life -- so, to be in the same room with him; often you find yourself pinching yourself, just saying "I kinda can't believe I am here doing this." He's so generous and so engaged in the work. You really feel like a collaborator with him. He's just as much in awe at the making of the projects he's a part of as anybody else. You feel like you're a part of something big. That's been one of the biggest, most beautiful surprises and delights is that I felt like I was apart of something, not just a hero worshiper. Yeah, in all of the Scorsese interviews I've seen for "Hugo," he's so happy and enthusiastic. Yeah! Any sense of intimidation goes out the window pretty quickly, because he's always interested, and that's what I find so fun. His enthusiasm is so infectious. It was amazing. You worked with the Coen bros. on "A Serious Man." The Coens are known for having everything meticulously laid out for actors. Is it the same vibe with Scorsese, or is he more improvisational? It was a very different kind of experience. I think Marty knows exactly what he wants when he sees it, but he also loves to improvise and make things very fresh. So in some ways, he will improvise with something on the set. I am sure he has very strong ideas of the way he wants things to look, but that doesn't stop him from getting what he wants. I remember the one day in which we were shooting that very final, long shot of the movie when the camera takes us through the window to the post-Gala celebration, and it sort of visits all the different characters in the film. We must have shot that sequence 17 times, so he knew pretty much what he wanted to do, but in the creation of it, we sort of found it on the day. So there's always with Marty a sense of plan, but also a sense of improvisation in the doing of it. Well, what about Marty working on a family-friendly film like "Hugo" versus Marty working on something more violent -- say, the pilot episode of "Boardwalk Empire"? Is there a big difference there? I think the enthusiasm is always there. He chooses his projects very well. I think that shows because everything he does is kind of a celebration, whether it's a very dark piece or a very child family-friendly piece. He's always full of interest. Speaking of "Boardwalk," your former HBO co-star Michael Pitt has a nice little cameo in "Hugo" as a projectionist. Did you know he was going to be in it beforehand? No. In fact, I found out Michael participated in it after I was done. I didn't know he was going to be a part of it, which was really fun to find out. So for season three of "Boardwalk Empire," you guys are going to jump a year-and-a-half and start in 1923, right? That's right. It starts New Year's Eve 1922 going into 1923. What can we expect from Arnold Rothstein this season? Well, I don't really know [laughs]. They haven't let me know anything yet. That's sort of part of the fun of that piece, is that we don't know where it's going to go. So I have no idea. Give me a couple of months and I'll be able to tell you more -- if they'll let me. Knowing the way the real-life Arnold Rothstein dies (he was murdered in 1928), is that something you just have to block out when you're playing the character? I suppose it depends on how much time -- if we are fortunate enough to tell these stories for a number of years. Eventually, I will have to come to terms with [his death], but at the moment, it's still early enough in his life for me to block that out. Going back to films, you have "Men In Black 3" coming out. Can you tell us a little about your character, Griffin? Is he an alien or an agent? He is a character we meet from another part of the galaxy, so I guess in that sense, he is alien to the earth. But his character is sort of slowly revealed to us over the course of the film, so I don't want to say too much about him. But I had a great time playing him.


02/23/12--08:00: Awards Show Challenge: Zach Galifianakis Forgot Something (chan 1768130)

On Sunday February 26, the biggest stars in Hollywood gather to bestow Oscars on the best movies of the year. With Billy Crystal hosting the festivities once again, movie fans will be watching how many Academy Awards are racked up by "The Help," "Hugo" and more. And since we won't know who wins the big gold until that 8pm ET start-time on February 26, this is your chance to test your award show expertise. Every weekday between now and February 24, we'll post new questions about what will happen on Hollywood's big night. (Right there on the right side of your screen) Submit your best guesses and you'll automatically be eligible for a daily prize of two free movie tickets. The grand prize -- a YEAR'S worth of free movie tickets -- will be awarded to a user with the most correct predictions.

Want to Win Free Movie Tickets For a Year? Keep Playing Awards Show Challenges Click here for rules.


02/23/12--09:59: Oscars 2012: Academy Awards Best Dressed Attendees (PHOTOS) (chan 1768130)

Sometimes, Oscar attendees decide to go against the convention of dressing like a crazy person on Halloween (Bjork, Cher) and actually look fantastic. Hopefully you indulged your sadistic side with Moviefone's own Tour de Fugly, but now it's time to play nice and celebrate those celebrities who owned the red carpet. From Audrey to Halle, below are the best dressed Oscar attendees ever. PHOTOS:


02/23/12--10:15: Oscar Speeches: Best 'Get-Off-The-Stage' Moments (VIDEO) (chan 1768130)

It's the part of the Oscar telecast you secretly wait for: that moment when a winner gets awkwardly cut off by the orchestra during their acceptance speech. Long-winded winners have been rushed off the stage before, and the odds are high it'll happen again this Sunday. In honor of this cringe-worthy Academy Award tradition, Moviefone presents some of the most memorable "get off the stage!" musical interruptions. Memo to possible winners Viola Davis, Octavia Spencer, Jean Dujardin and Christopher Plummer: keep your thank-yous and oh-gods brief. RELATED: BEST DRESSED IN OSCAR HISTORY


02/23/12--10:23: Academy Awards 2012: What If The Oscars Were A Playoff Tournament? (chan 1768130)

Hey, is everyone excited for the Oscars? The intrigue associated with the outcome of the major categories is ... zzzz. Oh, sorry, I nodded off there for a bit. Alas: unless there are some major upsets in store for us on Sunday night, most of the winners at the 84th annual Academy Awards are a foregone conclusion. Just like last year, with so much attention paid to the onslaught of pre-Oscar awards, the excitement over the major award is slightly anti-climatic. I mean, how many times can Christopher Plummer win a Best Supporting Actor award before, we, as a society, exclaim a collective, "Enough, already; we get it"? So, what if, in an alternate universe (yes, perhaps the same alternate universe in which Eddie Murphy is still hosting the Academy Awards), awards season was a bracket-style tournament? To even make it to the Academy Awards, you had to win three other critics association awards to advance. Wouldn't that be more exciting then the endless parade of the same winners, time after time? Well, here's our solution (click the photo for a larger version): For example: Does Harvey Weinstein really care that The Artist won Best Picture from the Washington D.C. Area Film Critic's association? No, he doesn't. But! If The Artist had to beat Sucker Punch (in your classic one seed versus eight seed situation) to advance to the London critics, well, the stakes would be quite a bit higher. In other words: An upset would actually mean something. If The Artist failed to defeat Sucker Punch, London would be deciding between that atrocity and A Separation. Finally, the larger awards bodies would decide on the four films represented at the Academy Awards -- which, yes, would make for a much shorter show and make everyone happier. Sure, The Artist might still be a favorite, but, up until this point, it's never gone head-to-head against The Help, Hugo and The Descendents. So, at this point, who knows what can happen? And, like the bracket that we did last year, it would have been much more exciting than watching The King's Speech cakewalk though the entire show, as expected. (Also, I should add: (A) I know this will never, ever happen and (B) I think I want to live in this alternate reality.) Mike Ryan is the senior writer for Moviefone. He has written for Wired Magazine, VanityFair.com, GQ.com, New York Magazine and Movieline. He likes Star Wars a lot. You can contact Mike Ryan directly on Twitter