TIME movies

Kirk Cameron Wins Worst Picture at Razzie Awards

Today - Season 61
NBC NewsWire—NBCU Photo Bank via Getty Images Kirk Cameron appears on NBC News' "Today" show.

Ben Affleck, Cameron Diaz and Michael Bay also took home awards

Television star turned Evangelical minister Kirk Cameron took home the top prizes Saturday night at this year’s Razzie Awards, a celebration of the year’s worst films. Cameron’s Saving Christmas, which IMDB users have ranked as the worst movie of all time, took home four Razzies, including worst picture.

“It’s about on the level of a super 8 movie from when I was a kid. It has no cinematic value at all,” Razzie founder John Wilson told the BBC after the show, held on the eve of the Academy Awards.

Other big winners included Michael Bay, who won worst director for Transformers 4: Age of Extinction, and Cameron Diaz, who won worst actress for The Other Woman and Sex Tape.

Read more: What Are the Razzie Awards?

Ben Affleck, who previously won a Razzie for Gigli, won the “Razzie Redeemer Award,” which acknowledges a recipient’s turnaround. The actor starred in the critically acclaimed Gone Girl last year.

Saturday’s ceremony, combining humor and biting criticism, marked the 35th Annual Gold Raspberries.

TIME celebrities

Cameron Diaz and Benji Madden Have Tied the Knot

There's something about married

After a day of rumors and reports, it has been confirmed that Cameron Diaz and Benji Madden have tied the knot.

The two “were married [Monday] evening in an intimate ceremony in their home in Los Angeles” their rep told People.

Diaz and her Good Charlotte hubby have been dating since May and reportedly got engaged just before Christmas.

“We couldn’t be happier to begin our new journey together surrounded by our closest family and friends,” the couple told People.

Read more at People.

TIME movies

Review: Annie Is Surprisingly Sit-Throughable

Columbia Pictures Quvenzhané Wallis stars as Annie alongside Jamie Foxx as Will Stacks in Annie

Quvenzhané Wallis is the hipper little orphan to Jamie Foxx's IT zillionaire in this haphazardly entertaining update of the old comic strip and the perennial Broadway musical

Perhaps Sony Pictures would like you to put aside all that dispiriting news regarding The Interview, the Seth Rogen–James Franco comedy whose plot about a U.S. assassination attempt on North Korean dictator Kim Jong Un led to the hacking of the company’s computers, mortifying revelations in stolen emails, dreadful threats of a 9/11-type attack on theaters and finally the cancellation of the movie’s Christmas-day opening. Instead, the studio suggests, take your kids to see Sony’s Annie, a fresh updating of the 1977 Broadway musical about the adorable orphan who transforms the zillionaire Daddy Warbucks into a benign father figure. Pure escapist fun.

Yet a couple of lines from Annie drag audiences back into the Interview mess. One of the movie’s sympathetic characters, the bodega manager Lou (David Zayas), fulminates against IT companies that appropriate “your information … so they can spy on you and take your soul.” Later, a sleazy campaign adviser named Guy (Bobby Cannavale) boasts of the lowlifes he has helped get elected. One is “Schwarzenegger.” Ha ha. Another: “Kim Jong Il.”

At an Annie press screening on Dec. 13, that line came as such a jolt that I wondered whether I was seeing a pre-hack rough cut of the movie. First of all, what election? The Democratic People’s Republic of Korea is a dynasty; Kim Jung Il succeeded his father, Kim Il Sung, as Un was named the Great Successor when Il died in 2011. And second: Why would the studio with two Christmas movies think it was fine to keep a second, throwaway Kim gag in its big family musical?

That said, I’m happy to report that Annie opened without incident last weekend and that, to my modest surprise, the movie isn’t totally awful. Based on Harold Gray’s 1924 Little Orphan Annie comic strip, which amused and soothed newspaper readers through the Great Depression, the new version casts Quvenzhané Wallis as Annie and Jamie Foxx as the Daddy Warbucks figure, Will Stacks. The Broadway score by Charles Strouse and Martin Charnin gets a synthy makeover by Greg Kurstin, Aussie singer-songwriter Sia Furler and director Will Gluck. Unlike Night at the Museum: Secret of the Tomb, its rival for underage audiences this Christmas week, Annie isn’t a candidate for worst movie of the millennium — despite what you may have heard. It’s certainly way more sit-throughable than director John Huston’s terminally stodgy 1982 film of the show.

In the script by Gluck and Aline Brosh McKenna, Will Stacks is a Michael Bloomberg type: he earned his billions in IT and wants to spend his largesse to become mayor of New York. When Annie is thrust in his path by chance, the opportunistic Guy notices Will’s low approval ratings skyrocketing and advises him to spend time with the girl. Bringing Annie to his penthouse means prying her from the clutches of foster-mom Miss Hannigan (Cameron Diaz) and giving her a surrogate mother in Will’s assistant Grace (Rose Byrne). Annie manages to overcome the political cynicism of Guy’s enterprise, captivate hearts and sing a few old-new hits.

Wallis, who at nine was the youngest person to receive an Academy Award nomination for Best Actress (for her role in Beasts of the Southern Wild), is 11 now and makes a smooth transition from wild child to domesticated starlet. She’s also a plausibly adorable Annie, with her halo of black hair reflecting the comic-strip character’s frizzy red mane. She’s given a big solo ballad, “Opportunities,” sung at a fundraiser at the Guggenheim Museum — which looks like “a giant cinnamon roll” — and aces it.

The rest of the movie is a teeter-totter between O.K. and Meh. Foxx and Byrne fill out their stereotypes of Will and Grace, the rich man and his girl Friday who need most of a two-hour movie to realize they love each other. An unexpected delight is a scene that wasn’t in the earlier version, and really has no place here: a visit to a movie theater for excerpts from a Twilight parody called Moon Quake Lake, with Ashton Kutcher as the hero, Mila Kunis as the heroine and Rihanna as the Moon Goddess. It provides Annie’s brightest few minutes.

On the minus side, Diaz’s stab at comic malevolence — which Carol Burnett turned into a treasure of shabby dipsomania in the 1982 film — has the odor of desperation until midway through, when Guy is revealed as the true villain and Hannigan is humanized by her bodega pal Lou. (Paging the actual modern Burnett — Kristen Wiig.) The scriptwriters also felt the need to explain song titles from the Broadway show (Girl 1: “What’s a hard knock life?” Girl 2: “One that sucks.”) and to point out that Annie names her dog Sandy in memory of the hurricane that devastated the East Coast two years back.

Filled with lurches from effervescence to ennui, this Annie is a mish-mosh pit that encourages indulgent viewers to dive in and have fun where and if they can find it. If they go with the movie’s ragged flow, they should find it more enjoyable than the 1982 Huston film.

It happens that my grumpy review of that Annie stirred a small industry ruckus. I ended the piece by quoting a remark that the movie’s producer, Ray Stark, had made to the New York Times: “I can only hope that on my tombstone are the words: ‘Annie, she is the one I was looking for’.” I added, “Funeral services may be held starting this week at a theater near you.” Just a joke, right? A few days later, Stark sent me a horseshoe wreath of dead flowers, emblazoned with a red ribbon reading, “Rest in Pieces.”

I wrote Stark a thank-you note, suggesting only that he might want to change florists, as his wreath to me arrived wilted. And that’s how we used to resolve animosities about movies. No high-stakes vandalism or terrorism; instead, a larkish little death threat. Ray Stark lived into his 90th year, and I’m still around. I’ll bet that Rogen and Franco are wishing they’d offended an old-line Hollywood producer instead of North Korea.

TIME diplomacy

15 Famous Cuban-Americans

Just 90 miles away from the United States, there are plenty of cross-cultural influences between the US and Cuba - despite political differences. Take a look at 15 famous Cuban-Americans whose heritage might surprise you

TIME Television

Watch Cameron Diaz Rap About Being Home for the Holidays on SNL

3 highlights from the episode that featured Bruno Mars and Mark Ronson as musical guests

Cameron Diaz didn’t just promote the upcoming Annie remake when she hosted Saturday Night Live this weekend, she also brought a little taste of the movie (which hits theaters in December before Christmas) to the episode that featured Bruno Mars and Mark Ronson as musical guests.

In the above clip, “Back Home Ballers,” Aidy Bryant (aka Lil’ Baby Aidy) and her crew follow up “(Do It On My) Twin Bed” with a rap song about traveling home for the holidays and enjoying a lazy Sunday or two in the company of mom and dad. Diaz tests out her rapping ability, but it’s Leslie Jones’ verse about bowls (yes, bowls) that is the true scene-stealer. Here are two other highlights:

“New Annie”: Jones continues to make it clear why she was upgraded from the writers’ room to the SNL stage with a hilarious twist on the upcoming Annie movie (that finds Diaz previewing her take on Miss Hannigan).

“Capitol Hill Cold Open”: SNL pokes fun at President Obama’s executive orders habit with a Schoolhouse Rock parody starring Kenan Thompson as a bill that apparently can’t get no respect.

TIME Music

Sia and Beck Team Up for the Annie Soundtrack With ‘Moonquake Lake’


The singers collaborate on a kid-friendly tune

The soundtrack to the forthcoming remake of Annie is out today, a month ahead of the movie’s holiday season premiere date. A blend of covers from the original 1977 Broadway musical and new tracks penned just for the remake, the soundtrack heavily features the film’s stars: Jamie Foxx, Quvenzhané Wallis, and Cameron Diaz. But Sia’s fingerprints are all over the album, too. The “Chandelier” singer co-wrote new arrangements, lent her voice to classics like “You’re Never Fully Dressed Without a Smile,” and paired up with Beck for this original tune, “Moonquake Lake.”

The upbeat track is more in the wheelhouse of pint-sized moviegoers than adult fans of either of its singers. In a melody fitting for a little heroine, it tells the fantastical tale of a fish-like girl who came from the moon, “ready to fight.” It’s got island vibes — plus, Sia makes what some may call a questionable decision, given frequent debates about cultural appropriation, to take on what sounds like a Caribbean accent.

Regardless, the track is likely to get Annie fans and newbies alike excited for the remake, which premieres on Dec. 19.

TIME movies

REVIEW: Don’t Dare Watch This Sex Tape

Cameron Diaz;Jason Segel
Claire Folger—¬© 2013 CTMG, Inc.

As a married couple trying to revive their love life, Cameron Diaz and Jason Segel prove that the homemade porn industry may be thriving, but the romantic comedy is nearly extinct

With her blond good looks, her knowing cheer, and a smile that spreads across her face like an earthquake’s fault line, Cameron Diaz is a natural for romantic comedy. In her new, R-rated Sex Tape, she plays Annie, wife of Jason Segel’s Jay, and 10 years after they fell in love, she finds that their routine of work and parenthood has sapped the erotic ecstasy they once felt just by staring at each other. On her chatty blog, she asks, “How the hell do you get it back?”

You might pose the same question about the rom-com; these are perilous times for one of Hollywood’s richest and most reliable genres. Maybe modern culture is the culprit. The old trope of boy meets girl, boy loses girl, boy gets girl — a love story promising permanence — seems utterly out of sync with an age when boy and girl meet online, hook up in college, never need marry and, if they do, have a 50% chance of getting a no-fault divorce. Or perhaps we should blame bromance: the bonding of man to man has nearly replaced the guy-gal model.

(READ: Mary Pols on Cameron Diaz and Jason Segel in Bad Teacher)

Whatever the reason, no period in film history has been so rich in actresses primed to play romantic comedy and so poor in the quality of the movies they have to make. Veteran beguilers like Julia Roberts, Sandra Bullock and Diaz, and more recent stars like Jennifer Lopez, Reese Witherspoon, Katherine Heigl, Kate Hudson, Amy Adams, Elizabeth Banks and Emma Stone all boast deft line-reading skills and high adorability quotients, yet most of their rom-coms stink. The only reason not to write a learned essay on the topic is that’s it’s too depressing.

Grant the makers of Sex Tape — Segel and cowriters Nicholas Stoller and Kate Angelo working with director Jake Kasdan — their worthy attempt to update the traditional romantic comedy while adhering to the genre’s verities. Annie and Jay, whose love has deteriorated into rote endearments pronounced on the fly between more pressing duties, seize a rare night alone together without their two kids to rekindle the spark by performing all possible positions illustrated in Alex Comfort’s 1972 manual The Joy of Sex. They work away at it for three hours — apparently Jay has impressive powers of recuperation — and have a great, refreshing time. Small oops: Jay accidentally uploaded their improvised exertions to the cloud, for easy viewing by the many friends, relatives and acquaintances to whom he’s given an iPad.

(FIND: Alex Comfort’s The Joy of Sex on the all-TIME 100 Nonfiction Books list)

Ignore for the moment that Apple says this simply can’t happen, and consider the change in popular mores since 1995, when Pamela Anderson and Tommy Lee’s explicit tryst on a yacht stoked a sensation on something called VHS. (The very phrase “sex tape” is an endearing anachronism.) These days everybody’s doing it, recording it and uploading it. Nude selfies abound, and YouPorn is, according to one recent survey, the 83rd most popular website in the world, just slightly ahead of Time.com. For some people, like Paris Hilton, a sex tape is a career move; for others, like Anthony Weiner, a nude selfie is a career-ender. Annie, who is this close to securing a big payoff for her blog from a children’s toy conglomerate, would be in the latter category. She and Jay must suppress their video triumph.

Banks and Seth Rogen traveled a similar route as a nice couple who go down and dirty in Kevin Smith’s bumpily agreeable 2008 comedy Zack and Miri Make a Porno. There, both stars seemed willing, accomplished participants. In Sex Tape, Diaz fulfills her side of the bargain, miming radiance or desperation at the appropriate times, as if she were in a pretty good movie. Not so Segel, who in Forgetting Sarah Marshall and The Five-Year Engagement displayed the charm of an engaging galoot. This time he often speaks his lines — and remember, they’re lines he helped write — with the disheartened, robotoid elocution of a prisoner in an al Qaeda video.

(READ: Corliss’s review of Zach and Miri Make a Porno)

He has our sympathy, since halfway into the film he’s being chased around a mansion by a ravenous German Shepherd. The swank digs belong to Hank Rosenbaum (Rob Lowe), CEO of the company that may buy Annie’s blog. At the office Hank is a dewy, bespectacled John Green type; at home he shows Annie his bizarre tattoos, the collection of paintings he’s commissioned — with himself as, for example, Rafiki in The Lion King — and his stash of cocaine. While Annie is talking and toking, Jay is in a death match with that vicious canine. It’s a scene from a worse movie than Sex Tape has been, but not as awful as Sex Tape will become in its endless and implausible third act.

Rob Corddry and the appealing Ellie Kemper (Erin Hannon on The Office) play the mandatory neighbor couple, and young Harrison Holzer nails the role of their snooty, scheming son. Lowe, who survived his own sex-tape scandal a generation ago and looks not a day older, lends a sweet derangement to the movie just as it’s going massively stupid: preposterous yet boring. Sex Tape doesn’t fall off the cliff of competence so much as it executes a slow, agonized mudslide of failed intentions. Your watch tells you that the film lasts 95 minutes; your sinking spirit says it’s at least as long as Jay and Annie’s porn epic — without the redeeming prurient interest. It’s a sex comedy about love. And that’s the oddest element of this latest demonstration that the romantic comedy is a fatally endangered species.

TIME movies

Watch Cameron Diaz, Kate Upton and Leslie Mann Behind the Scenes of The Other Woman

What "the lawyer, the wife, and the boobs" got up to on set

The Other Woman, starring Cameron Diaz, Leslie Mann and Kate Upton, made $24.7 million in its opening weekend, despite unimpressed critic reviews. But just because it might not be not Oscar material doesn’t mean it’s not entertaining to watch the three women interact.

Watch the video above for a behind-the-scenes look at the making of the movie.

TIME jimmy fallon

Late Night Highlight: Jimmy Fallon and Cameron Diaz Photobomb Tourists

Visitors to the Rockefeller Center got a surprise in their souvenir photographs.

Jimmy Fallon and guest Cameron Diaz had some fun with Rockefeller Center visitors this week by hiding out on the observation deck and jumping in the background of their photos.

Diaz was with Fallon once again to promote her new movie, The Other Woman, also starring Leslie Mann and swimsuit model Kate Upton.

Check out the best of their photobombs in the video above.

Your browser is out of date. Please update your browser at http://update.microsoft.com