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    Movies Are My Life

    Natalie Portman turns into a suck up at Golden Globes; Ricky Gervais all butgagged

    Joe Leydon
    Jan 17, 2011 | 12:41 am
    • Ricky Gervais didn't hold back at the Golden Globes this time — maybe ensuinghe'll never be invited back.
    • Natalie Portman showed she's a perfectly suck up.
    • Christian Bale — shown here in his winning role in The Fighter — brought some ofthe Gervais spunk though.

    If you tuned in the 68th annual Golden Globe Awards expecting Ricky Gervais’ Snark-o-Palooza, you may have been slightly disappointed by the three-hour extravaganza that aired Sunday evening on NBC.

    To be sure, the drolly acerbic host was in fine form during his opening monologue, cheerfully gnawing on the hands that were feeding him (he more or less dismissed members of the Hollywood Foreign Press Association as bribe-taking, star fuckers) when he wasn’t aiming withering zingers or sarcastic snipes at Mel Gibson, Charlie Sheen and other Hollywood luminaries.

    (After one gasp-producing, not-so-veiled allusion to a certain superstar Scientologist's sexual preference, he dryly noted: “My lawyers helped me with the wording of that joke.”)

    And as the evening progressed, Gervais continued to behave as though the entire awards show was his very own comedy of bad manners, abounding in opportunities for him to spike his mock-obsequious introductions with snidely sardonic insults. (Was it just me, or did Bruce Willis really, really look like he wanted to punch out the Brit bad boy after Gervais described him as “Ashton Kutcher’s father”?)

    Did he go too far? Of course he did. That’s what you expect Ricky Gervais to do. My only complaint is that he wasn’t able to go too far often enough.

    Gervais was conspicuously and unaccountably absent from the stage during long portions of Golden Globes telecast, especially during the third hour. At one point, in fact, he was gone for so long that several Twitterers offering live commentary on the proceedings wondered whether HFPA bigwigs — or Bruce Willis himself — had contrived to have Gervais banished from the building, or at least bound and gagged backstage.

    Fortunately, other presenters and even a few award-winners did their best to sustain the snark quotient with their own irreverent remarks while Gervais was otherwise engaged. Blame it on the booze that famously flows freely at Golden Globe shindigs. Or, more likely, chalk it up to a highly contagious strain of what-the-hell cheekiness that Gervais introduced to an awards show that, even before his first hosting gig last year, never has been as stuffy or self-congratulatory as the Oscars or the Emmys.

    Robert Downey Jr. saucily insinuated a history of sexually congress with each of the nominees in the Best Actress — Comedy or Musical category, then turned a familiar awards-presenter cliché into a brazen come-on: “I’d like to give it to all five of you.”

    Melissa Leo — atypically stunningly glamorous — claimed she was cast by director David O. Russell in The Fighter only after “those few hours we spent at the Maritime Hotel.”

    And Robert De Niro — an actor rarely accused of excessive jocularity — accepted his Lifetime Achievement prize with an extended comic riff that suggested he might be ready to try out his stand-up stylings as a Las Vegas headliners. He expressed relief that the HFPA had committed to honoring him before they had a chance to see and review Little Fockers. But, then again, he seemed even less impressed than Gervais by the makeup of the HFPA membership.

    “Many of them were deported right before the show,” De Niro quipped. “Along with most of the waiters. And Javier Bardem."

    (Keep in mind: Members of the Hollywood Foreign Press Association are, well, critics and journalists who cover Hollywood for foreign publications. Many, if not most, are stringers and freelancers, not full-timers, and rely heavily on paychecks for other gigs. Which is why you often hear snotty remarks about HFPA members toiling throughout the rest of the year as waiters at other Hollywood events. And why many film industry observers claim HFPA members can easily be swayed by whining and dining and occasional ass kissing.)

    In sharp, borderline-embarrassing contrast to De Niro’s free-wheeling remarks, Natalie Portman responded to her Best Actress — Drama win for Black Swan with a shameless osculation of HFPA posteriors. Indeed, she actually took time during her gushing thank you speech to describe meeting and greeting HFPA members as “the most meaningful thing I will take away from this post-movie experience.” No, really.

    To his credit, Christian Bale managed to signal a certain lack of sincerity — if not a heaping helping of Gervaisian snark — in his own acceptance speech. Grasping the Golden Globe he won as Best Supporting Actor for his brutally effective turn in The Fighter, he admitted that there was a time not so long ago — like, maybe, up until the moment before his name was announced Sunday evening — that he thought members of the Hollywood Foreign Press Association were, well, a bit strange.

    And scary.

    “But now I know who you are,” Bale quickly added, “and suddenly I realize how wise and perceptive and spectacular you guys are."

    Wherever he was at that moment, Ricky Gervais had to be smiling.

    Editor's note: How would you rate Gervais performance at the Globes? Vote in our new CulturePoll now.

    A taste of Gervais at the Globes:

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    Movie Review

    Star TV producer James L. Brooks stumbles with meandering movie Ella McCay

    Alex Bentley
    Dec 12, 2025 | 2:30 pm
    Emma Mackey in Ella McCay
    Photo courtesy of 20th Century Studios
    Emma Mackey in Ella McCay.

    The impact that writer/director/producer James L. Brooks has made on Hollywood cannot be understated. The 85-year-old created The Mary Tyler Moore Show, personally won three Oscars for Terms of Endearment, and was one of the driving forces behind The Simpsons, among many other credits. Now, 15 years after his last movie, he’s back in the directing chair with Ella McCay.

    The similarly-named Emma Mackey plays Ella, a 34-year-old lieutenant governor of an unnamed state in 2008 who’s on the verge of becoming governor when Governor Bill (Albert Brooks) gets picked to be a member of the president’s Cabinet. What should be a happy time is sullied by her needy husband, Ryan (Jack Lowden), her agoraphobic brother, Casey (Spike Fearn), and her perpetually-cheating father, Eddie (Woody Harrelson).

    Despite the trio of men competing to bring her down, Ella remains an unapologetic optimist, an attitude bolstered by her aunt Helen (Jamie Lee Curtis), her assistant Estelle (Julie Kavner), and her police escort, Trooper Nash (Kumail Nanjiani). The film follows her over a few days as she navigates the perils of governing, the distractions her family brings, and the expectations being thrust upon her by many different people.

    Brooks, who wrote and directed the film, is all over the place with his storytelling. What at first seems to be a straightforward story about Ella and her various issues soon starts meandering into areas that, while related to Ella, don’t make the film better. Prime among them are her brother and father, who are given a relatively small amount of screentime in comparison to the importance they have in her life. This is compounded by a confounding subplot in which Casey tries to win back his girlfriend, Susan (Ayo Edebiri).

    Then there’s the whole political side of the story, which never finds its focus and is stuck in the past. Though it’s never stated explicitly, Ella and Governor Bill appear to be Democrats, especially given a signature program Ella pushes to help mothers in need. But if Brooks was trying to provide an antidote to the current real world politics, he doesn’t succeed, as Ella’s full goals are never clear. He also inexplicably shows her boring her fellow lawmakers to tears, a strange trait to give the person for whom the audience is supposed to be rooting.

    What saves the movie from being an all-out train wreck is the performances of Mackey and Curtis. Mackey, best known for the Netflix show Sex Education, has an assured confidence to her that keeps the character interesting and likable even when the story goes downhill. Curtis, who has tended to go over-the-top with her roles in recent years, tones it down, offering a warm place of comfort for Ella to turn to when she needs it. The two complement each other very well and are the best parts of the movie by far.

    Brooks puts much more effort into his female actors, including Kavner, who, even though she serves as an unnecessary narrator, gets most of the best laugh lines in the film. Harrelson is capable of playing a great cad, but his character here isn’t fleshed out enough. Fearn is super annoying in his role, and Lowden isn’t much better, although that could be mostly due to what his character is called to do. Were it not for the always-great Brooks and Nanjiani, the movie might be devoid of good male performances.

    Brooks has made many great TV shows and movies in his 60+ year career, but Ella McCay is a far cry from his best. The only positive that comes out of it is the boosting of Mackey, who proves herself capable of not only leading a film, but also elevating one that would otherwise be a slog to get through.

    ---

    Ella McCay opens in theaters on December 12.

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