13 Steamiest Golden Globe Nominees

Photo: John Salangsang/BFAnyc.com

Award show season has (unofficially) begun! Call your stylist and snag a Valentino fresh off the runway to ensure you’ll look your best on the step and repeat. For this set of 2014 Golden Globe nominees, looking their hottest wont take much. Keira Knightly could show up in a maternity dress and still be the hottest dime on the red carpet.

1. Jennifer Aniston, nominated for Best Performance by an Actress in a Motion Picture, Drama for CakeThe Cinema Society & InStyle host a screening of CakePhoto: Matteo Prandoni/BFAnyc.com

2. Julianne Moore, nominated for Best Performance by an Actress in a Motion Picture, Drama for Still Alice L'ORÉAL PARIS 2014 Women of Worth Celebration ArrivalsPhoto: Ryan Kobane/BFAnyc.com

3. Benedict Cumberbatch, nominated for Best Performance by an Actor in a Motion Picture, Drama for The Imitation Game David-X-PruttingPhoto: David X Prutting/BFAnyc.com

4. Reese Witherspoon, nominated for Best Performance by an Actress in a Motion Picture, Drama for Wild John-SalangsangPhoto: John Salangsang/BFAnyc.com

5. Jake Gyllenhaal, nominated for Best Performance by an Actor in a Motion Picture, Drama for NightcrawlerCarly-OtnessPhoto: Carly Otness/BFAnyc.com

6. Eddie Redmayne, nominated for Best Performance by an Actor in a Motion Picture, Drama for The Theory of Everything 18th Annual Hollywood Film Awards - Press RoomPhoto: John Salangsang/BFAnyc.com

7. Amy Adams, nominated for Best Performance By an Actress in a Motion Picture, Comedy for Big Eyes LACMA 2014 Art+Film Gala sponsored by GUCCIPhoto: John Salangsang/BFAnyc.com

8. Emily Blunt, nominated for Best Performance by an Actress in a Motion Picture, Musical for Into The Woods Los Angeles Premiere of Cinedigmís ARTHUR NEWMANPhoto: Aleks Kocev/BFAnyc.com

9. Jessica Chastain, nominated for Best Performance by an Actress in a Supporting Role for A Most Violent Year GIORGIO ARMANI hosts the official premiere & after party of A MOST VIOLENT YEAR with OSCAR ISAAC and JESSICA CHASTAINPhoto: Benjamin Lozovsky/BFAnyc.com

10. Keira Knightley, nominated for Best Performance by an Actress in a Supporting Role in The Imitation Game David-XPhoto: David X Prutting/BFAnyc.com

11. Emma Stone, nominated for Best Performance by an Actress in a Supporting Role for Birdman Julian-MacklerPhoto: Juliane Mackler/BFAnyc.com

12. Ethan Hawke, nominated for Best Performance by an Actor in a Supporting Role for Boyhood Matteo-Prandoni-2Photo: Matteo Prandoni/BFAnyc.com

13. Mark Ruffalo, nominated for Best Performance by an Actor in a Supporting Role for Foxcatcher Ben-RosserPhoto: Ben Rosser/BFAnyc.com

Who’s Your Best Dressed? Our Most Stylish Party Goers of the Week

Photo: John Salangsang/BFAnyc.com

Your favorite party-goers were white hot this week. Awards were given in Los Angeles and socialites swooned at the Cartier party in New York. Through all the fabulous gowns and daring jumpsuits we’ve narrowed down our favorite looks of the week. Who gets your vote for best dressed?

1. Gigi Hadid at the MAC Cosmetics x Prabal Gurung Launch in New York David-X-pruttingPhoto: David X Prutting/BFAnyc.com

2. Chiara Ferragni at Panthere de Cartier party in New York Panthere de CARTIER PartyPhoto: Billy Farrell/BFAnyc.com

3. Hannah Bronfman at Panthere de Cartier party in New YorkPanthere de CARTIER PartyPhoto: Billy Farrell/BFAnyc.com

4. Natalia Vodianova at Amex’s evening celebrating Stella McCartney in New YorkAN EVENING HONORING STELLA McCARTNEY PRESENTED BY AMERICAN EXPRESSPhoto: Joe Schildhorn/BFAnyc.com

5. Carolyn Murphy at Amex’s evening celebrating Stella McCartney in New York Joe-Schildhorn-2Photo: Joe Schildhorn/BFAnyc.com

6. January Jones at Vogue’s Toast to Jimmy Choo’s Cruise 2015 Collection in New YorkOwen-KolasinskiPhoto: Owen Kolasinski/BFAnyc.com

7. Emily Ratajkowski at the Hollywood Film Awards in L.A. 18th Annual Hollywood Film Awards - ArrivalsPhoto: John Salangsang/BFAnyc.com

8. Julianne Moore at the Hollywood Film Awards in L.A. 18th Annual Hollywood Film Awards - ArrivalsPhoto: John Salangsang/BFAnyc.com

9. Kristen Stewart at the Hollywood Film Awards in L.A. 18th Annual Hollywood Film Awards - ArrivalsPhoto: John Salangsang/BFAnyc.com

10. Keira Knightley at the Hollywood Film Awards in L.A. 18th Annual Hollywood Film Awards - ArrivalsPhoto: John Salangsang/BFAnyc.com

Who’s the Hottest Mr. Darcy?

Pride and Prejudice turns 200 today, and with 200 years you’d think we’d be able to track down 200 Mr. Darcys. Alas, there haven’t been that many. But while many of us know (and love) the Mr. Darcys as portrayed by the gruff yet charming Colin Firth and Matthew Macfadyen, there have been a handful of attractive men who have stepped into those knickers and soggy white shirts. Let’s take a look at some of the men who have stolen the hearts of many Elizabeth Bennets throughout the years.

Laurence Olivier

As the first Mr. Darcy to grace the screen, Olivier’s turn might not be as recognizable as his Hamlet or even his black-face Othello (keep it classy, Olivier!). As far as old dead dudes go, Olivier’s a hot one, and he proves that pairing that look of indignation with ruffly neckwear will always be a bold fashion choice.

David Rintoul

Who? I dunno, either, but this guy looked sexy as hell in a 1967 TV production of Jane Austen’s novel. He certainly looks adequately grumpy and attractive!

Colin Firth

The 1995 BBC production might be the gold standard in Jane Austen adaptations, and it launched the international careers of both Colin Firth (who later appeared in a different version of the role in Bridget Jones’s Diary) and Jennifer Ehle (who has reinvigorated her career lately with smaller roles in Contagion and Zero Dark Thirty). Is Colin Firth the most perfect Mr. Darcy? Possibly!

Orlando Seale

Seale starred in a 2003 version of Pride and Prejudice, in which the classic love story was transported to Utah in the early 2000s. Did you see it? Probably not. Is he still handsome? Yes. Yes he is.

Martin Henderson

Bride and Prejudice was another modern-day adaptation of the Austen masterpiece, this time given the Bollywood treatment. I have to say, Henderson isn’t really doing it for me, but I’d admit that never did Mr. Darcy have such a lovely head of hair.

Matthew Macfadyen

Joe Wright’s 2005 film made a respectable actress out of star Keira Knightley, but more importantly introduced most of us to Macfadyen, who is the only guy on this list able to give Colin Firth a run for his money.

Elliot Cowan

It’s no big surprise that Lost in Austen, a mini-series in which a Jane Austen superfan finds herself swapping places with Austen’s heroines, didn’t get a lot of attention stateside. But the show’s Heath Ledger look-alike Cowan sure did make one sizzling Darcy.

Daniel Vincent Gordh

Gordh’s Darcy, seen in the webseries The Lizzie Bennet Diaries, in which Lizzie keeps a vlog about her romantic experiences, looks more like a scheming Gossip Girl character rather than a dashing late-Georgian-era Darcy. But I like the idea of Mr. Darcy in a skinny tie and gingham, really.

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Rating The Plot Lines In ‘Love Actually’

It’s the day before Christmas and all through the house are the sounds of Love Actually coming from the living room, because tradition in our house is for my mother to watch that movie over and over again while I hide in my room and listen to normal music. I have seen this damn movie so many times. At first I loved it. Then I found it slightly annoying. And now I hate it. But let’s be real: it’s not all bad. Here’s a quick little guide to the best and worst story lines in this madcap Christmas romantic comedy.

GREAT: Harry and Karen

This is definitely the best plot line of the film. Can’t we all agree? First of all, of course Alan Rickman and Emma Thompson would have the best/worst marriage in cinema. It only makes sense for that marriage to be depicted in the best/worst Christmas movie ever made. But not only is this story the strongest, writing wise, it’s consistently the one that tears everyone apart. The scene in which Karen discovers that her husband is probably cheating on her with his tarty (tarty! British!) secretary and she cries along to Joni Mitchell? Don’t act like you haven’t dramatically reacted to every minor life crisis the exact same way.

AWFUL: Jamie and Aurelia

Colin Firth is all Mister Darcy over the fact that his girlfriend sleeping with his brother, so he has to run away to sunny France for Christmas so he can spend the holiday alone and write a novel on his typewriter. Who uses a typewriter?! This ain’t Brooklyn, Jamie. Luckily, he has a hot Portuguese cleaning lady who he falls in love with, and it’s an interesting take on class status in Europe. Ha ha, just kidding, but isn’t it hilarious when Jamie can’t speak Portugese really well at the end? (Nope.)

GREAT: David and Natalie

Sure, it’s kind of weird that this plot line about the Prime Minister and a member of his staff devotes a few scenes to the Iraq war and disparages the United States presidency with a composite of George W. Bush and Bill Clinton (Southern, ass-grabbing) played by Billy Bob Thornton. And then, you know, the Prime Minister falls in love with someone on his staff. But he doesn’t grab her ass! Instead, he dances to the Pointer Sisters. (Ah, those Brits, always making me ask the question, “Is he gay or just English?”) But Hugh Grant is adorable as hell in this, and props to the since-unseen Martine McCutcheon for looking cute as a button and looking like a normal human woman with a real, bangin’ body.  

AWFUL: Sarah and Karl

Why does Laura Linney live in London? What is going on with her mentally ill brother? Why does he call so much? Why does she have a thing for Karl? (OK, that answer is obvious.) Why does Karl string her along? Why does Karl drop her based entirely on the fact that she has a mentally ill brother who calls her too much? I dunno, Karl, maybe you not be a dick for a second and a half and realize that maybe you could take the lady out on a date instead of just trying to bang her after the company holiday party? Or maybe Sarah should wise up and realize that Karl—his name is Karl, for Christ’s sake—is kind of a jag off and maaaaybe she shouldn’t shit where she eats? She already has enough on her plate with her brother, you know?

GREAT: Daniel and Sam

How awkward is it to watch Love Actually now that Natasha Richardson has died? Obviously Liam Neeson’s character would deal with the death of his wife by breaking the necks of a lot of evil Europeans. Or wolves, or something. Luckily, this story line focuses on the love between Daniel and his stepson, Sam. Sam, who is the most adorable child in the history of film, steals everyone’s hearts with his sad face and his mussy hair and his obsession with the American girl who is really only in this movie to remind everyone how awesome “All I Want For Christmas Is You” is. But like Harry and Karen’s story, this plot line is one of the best because it walks the line between heartwarming and heartbreaking.

THE WORST: Mark, Juliet, and Peter

Hey, Mark? If you’re in love with your best friend’s new wife, maybe you should stop hanging around them and filming their wedding and showing up at the door to profess your love to her with some silly Bob Dylan-style speech-with-cue-cards thing. ‘Cause that is some bullllllllshit. You are a terrible person. And Juliet? Don’t think you’re off the hook for kissing him. I know you think he’s sweet and everything, but you have a husband inside the house—right there inside the house—so maybe you shouldn’t participate in his terrible, evil best friend’s efforts to break you two apart because he’s kind of a selfish, sad puppy of a man. And Peter? Pull your head out of your ass. Shit is going down all around you and you’re too busy organizing choirs to sing to your wife. 

GREAT: John and Judy

Tits, basically. And Martin Freeman. So thumbs up!

THE WEIRDEST: Billy Mack and Joe

We can blame this movie for Bill Nighy’s weird career, right? But even I don’t even know what the hell is going on in this one. Sure, I’m beginning to get "Christmas Is All Around" stuck in my head for the rest of the week, and a British bromance is darling, I suppose. But nothing about the resolution of this story—basically, the image of two old Brits sitting around on Christmas eve, hugging and watching porn together—makes me want to do anything but vomit all of the cinematic eggnog I’ve willingly accepted for nearly two-and-a-half hours. 

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‘Les Misérables’ Wedding Flash Mob Hopefully Puts End To Wedding Flash Mobs

Remember that scene at the beginning of Love Actually where the guy plans the spontaneous wedding ceremony musical performance for his best friend and also Keira Knightley who he’s been in love with forever? Of course you do. Now think about how many well-meaning best men and maids of honor and other well wishers have tried to imitate that moment, especially in the age of YouTube, where weddings have become a theatrical affair of a different kind with choreographed dances down the aisle and whatnot.

And speaking of weddings becoming theatre, the anticipation of a certain big-budget movie musical has clearly seeped into one wedding, where Danish couple Suzanne and Sune Vibaek Svankeier, at their reception at the Worker’s Museum in Copenhagen, were greeted with a rousing rendition of a workers’ anthem from Les Misérables. In the video, which already has amassed views in the six figures on the YouTubes, guests stand one by one and belt out a surprisingly stirring rendition of “One Day More.” It’s not exactly “A Heart Full of Love,” but the guests dig it, the bride and groom are touched and the ending involves confetti.

This video isn’t without a few questions though. The performance is referred to as a “flash mob,” but is it really? It contains a rehearsed performance that appears spontaneous and is meant to surprise and enchant (although many may just inspire eye-rolls), but doesn’t a flash mob require mostly strangers getting together in, well, a mob? And then disappearing? And how does one couple know this many people who can sing that decently? And, more importantly, will this lead to even more Les Misérables wedding serenades, though of a decidedly lesser caliber? Watch.

Why Do Women Hate Keira Knightley?

It’s a thing, right? I’ve never had strong feelings either way, but I will say that three of her films (Atonement, this year’s Seeking a Friend for the End of the World, and the recent Anna Karenina) have brought joy to my heart. I don’t really hear much from my male friends about it, either; she’s just kinda there, I think. But man, it seems that most women I know really don’t like her. What gives, ladies?

I don’t mean to be a Dude Who Calls Out Women here, but the criticisms I hear about Knightley’s failings here are generally reduced to "she sucks" or "her chin is too big." Yeah, sure, she has a prominent chin. But that’s like saying that Christina Hendricks is a shitty actress because of her tits, no? Isn’t there something deeper here that we can point our fingers at? I mean, compared to other figures who receive well-documented vitriol (Zooey Deschanel or Gwyneth Paltrow, to name just two examples), Keira Knightley hardly does anything annoying. She doesn’t have any lifestyle websites, and she doesn’t make an attempts at a music career. All she has done, really, is been in pretty good movies and done pretty good jobs in all of them. I mean, she did get an Oscar nomination, people. It’s not like everyone is convinced she is horrible.

So please, explain this one to me? Because I’m generally fascinated. (Is it really her chin?)

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Talking With Director Joe Wright About His New ‘Anna Karenina’

Many consider Leo Tolstoy’s Anna Karenina to be the greatest novel ever written. Not surprisingly, it’s been adapted for film many times over. Today marks the opening of a new take at the classic love story, this time starring Keira Knightley as the doomed Anna, Aaron Johnson as her young lover, Vronsky, and Jude Law as Anna’s dull and cuckolded husband. But what makes the film special is director Joe Wright (who has had success with two other recent book-to-film adaptations, Pride and Prejudice and Atonement, both starring Knightley) and screenwriter Tom Stoppard’s decision to set all of the action of the gossipy 19th Century Russian aristocrats entirely on stage, giving this well-known story a fresh look.

I sat down with Wright last week for a brief chat about his desire to bring a new Anna to the screen, his love for the source material, and his conceptual take on a classic love story.

Where you just such a fan of the book that gave you the inspiration to tackle another adaptation of the book?
I just found that I was at a point in life where Levin and this mediation on love that Tolstoy had put down for us began to feel even more pertinent and relevant. I read it and just wanted to spend time with it, really. I was also a big fan of Tom Stoppard and wanted to spend time with him and learn from him, as well, so I approached him and was he interested in adapting it with me. So that was the beginning of the journey.

I’ve read that the theatricality of the film—the stage setting in which you placed the film—was a decision made fairly late in the creative process. What was the revelation that sparked that?
It came out of this desire to find a form of filmmaking that allowed me to get closer to the emotional lives of the characters. I think period films often get so caught up in historical reenactment that it distracts in the end from the characters’ lives, and people, including myself, find them quote cold and sort of distancing. I wanted to find a way of focusing on just the essence of the story and the essence of the characters. And so to do that, I thought if I stripped away the stuff that wasn’t really about the story—the physical house or the carriage, you know—then I might achieve something that had modernity and directness and a communication of the essence.

There were many musical qualities to the film, but it never felt like a filmed play. Did you have any experience in directing theater?
I don’t have any directing experience, but my parents had a puppet theatre in Islington, London. There was a theater and a workshop next to our house where the puppets and scenery were made, so it was this kind of complete little magical world that seemed to exist all on its own. And so I think this film is closer to that kind of childhood aesthetic than any I’ve made before. Another influence on the movie was Jan Svankmajer, the Czech animator that made Alice. He has this incredible kind of handmade aesthetic and is constantly playing with scale and I enjoy those kind of visual motifs.

I started reading the book after I saw the film, and I’m impressed that you’ve been able to balance the second storyline of Levin and Kitty so well.
I think that without that story, Anna’s story doesn’t make sense. The book is a meditation on love in all its many forms. Anna’s love is deeply flawed, as is Anna, really. She’s not the heroine that she’s been held up to be. She’s almost an anti-heroine—but I mean almost. For me, Levin and Kitty’s story is the point of the book. I think the title is misleading; I think it should be called “A Group of Interesting People Battling With the Challenges of Love in 1870s Russia.” But that’s not as catchy. But it’s really an ensemble piece, and Levin’s story is important because he gives us not the answers, but the resolution. He finds us at the end and takes us up and shows us that it’s a book about love and a book about humanness—about how to be human and the idea that love can teach us how to be human. And that is a kind of spiritual path, although I’m not talking about religion.

Did you look at any other previous film adaptations of the novel?
The only one I watched was the 1935 film with Greta Garbo. I was interested when I saw that film to see that they had cut Levin, and therefore they had to make Anna this kind of big romantic heroine. It is a love story, but her love is founded on something that isn’t necessarily real. So I saw how that didn’t work. There’s one kind of gender reversal moment that Tom and I took from that film, which we thought was quite fun. There’s the famous scene, where Garbo’s Anna gets off the train and emerges through the steam to see Oblonsky; in our film, we did it the other way around and had Anna get off the train and Oblonsky emerge through the steam, which we thought was kind of fun.

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Snooze Alert: ‘Anna Karenina’ Comes Back to the Big Screen

Hey, Russian Lit majors and Oprah Book Club members! Anna Karenina, a really long book about love and death and Russia (those three typically go hand-in-hand), has been adapted into a brand-spanking-new Oscar-baiting film by Pride and Prejucide and Atonement director Joe Wright. True to form, Wright pulls his usual leading lady Keira Knightley back into his web (after giving her a break from starring in the miserable Hanna) and has cast her in the title role. Also on board is Jude Law with a creepy mustache! 

Here’s the gushy trailer for the new adaptation:

Once again, Wright has turned out what appears to be a Chanel ad, full of heightened drama and needless camera angles and shots that only show off his technical abilities. I guess you have to make this story exciting somehow, huh? At least he didn’t follow in Baz Luhrmann’s footsteps and avoided any Jay-Z/Tolstoy mash-ups. But it will certainly be long. And sad, unless the idea of Keira Knightley throwing herself in front of a train excites you in some way. (Yes, for those of you who didn’t make it through the Cliff’s Notes, it has a very sad ending!) 

(via Indiewire)

Steve Carell & Keira Knightley Make Nice in ‘Seeking a Friend for the End of the World’

The end of the world doesn’t seem like ripe material for a romantic comedy, but here goes: In Seeking a Friend for the End of the World, Steve Carell and Keira Knightley star as strangers who maybe — just maybe — find themselves in similar straits after it’s announced that an asteroid will collide with the Earth. Accompanying by a ringing indie rock soundtrack and a delightfully morbid string of jokes, they’ll attempt to navigate the waters of dreams deferred and unresolved midlife crises while trying to avoid thinking about the fiery rock above them. Of course, there’s no indication that Carell and Knightley will fall for each other — in fact, she seems to be trying to reunite him with his long-lost love. But you know how these things are, and frequently go.

This will be the directorial debut of Lorene Scafaria, who previously wrote the unfortunately titled/existing Nick and Nora’s Infinite Playlist. In case her reputation throws you off, don’t worry: the trailer looks fun and snappy, filled with enough in-the-now comedy actors like Patton Oswalt and Community‘s Gillian Jacobs to make the end of the world seem like it might not be so bad, after all. (Until the fire and the death, of course.) It’s out on June 22.