Oscar Telecast Retrospective Part 2: Mad Max's Golden Hour

With Rock laying waste to the elephant in the room through that biting monologue, it was time to get on with the show...

The Huntsman sisters, beautiful bad-asses Emily Blunt and Charlize Theron, flirt with writers everywhere while introducing Best Original Screenplay, which went to Spotlight's Tom McCarthy and Josh Singer (not “John”, Charlize!).

The victory was not only richly deserved, but also immediately exposed the Thank-You Ticker for the disastrous experiment that it was, as Singer began his speech by repeating “We've gotta thank...” four times over with numerous names in between.

Review - Man of Steel

With wall-to-wall action that moves faster than a locomotive, Man of Steel reinvigorates a wealth of Superman mythos for a new generation, but is far from an unqualified success. The pairing of producer Christopher Nolan and director Zach Snyder is a bit of an anomaly given their very different directorial styles, but if nothing else, Man of Steel certainly gives you a lot bang for your buck.

The script, scribed by Nolan's Dark Knight co-writer David Goyer, covers not only the already well known origin story of an alien baby who escapes the destruction of his home planet and is raised by a kindly Kansas couple, but also the saga of the man of steel's quest for self-enlightenment and his run-in with his Kryptonian enemy General Zod. That's an awful lot of material to cram into one movie – enough perhaps for two movies, one could argue.

Review - Les Miserables

27 years after taking the world by storm, the international musical hit Les Miserables finally gets the Hollywood treatment its diehard fans have been waiting for, but not everyone will sing its praises as loudly as them. We've already heard the critics singing the song of angry men, while audience reactions seem to be as contentious as the student rebellion around which the melodrama unfolds. Detractors have trained their muskets squarely at the film's in-your-face emotive style, the very appeal of which defenders have made their barricade against such criticisms. It begs the question: Is Les Mis the sort of movie that makes necessary – or for that matter, even makes possible – an objective review? I know I struggle to extract my opinion of the film from my opinion of the source material. Where does my love of the show end and my love of the movie begin?

Despite a butt-punishing 2-hour and 38-minute run time, Les Mis is a fairly streamlined distillation of Victor Hugo's 19th century novel, in which ex-con Jean Valjean (Hugh Jackman) spends the better part of his life on the run from the law and in search of redemption. Across the years he eludes capture by the overly dedicated Inspector Javert (Russell Crowe), raises the daughter of the ill-fated Fantine (Anne Hathaway), fights in the Paris rebellion of 1832, and basically puts up with all kinds of crap (literally, in one instance!) to ensure the future happiness and security of his adopted daughter (Amanda Seyfried). Hugo spins an elaborate web of connections between these and many other characters – including the dashing Marius (Eddie Redmayne), the scheming Thenardiers (Sacha Baron Cohen and Helena Bonham Carter), and their lovelorn daughter Eponine (Samantha Barks) – through a series of outlandish coincidences that would vex Dickens.