At last, The King’s Speech won Best Picture, including Best Director (Tom Hooper), Best Actor (Colin Firth) and Original Screenplay (David Seidler) at the 83rd Annual Academy Awards.

It was a strange cold night (weather forecast was possible frost and hail over the weekend in California), particularly for the royalty, as The Social Network bagged 3 awards (Adapted Screenplay, Original Score and Film Editing) and Inception 4 awards (Cinematography, Sound Mixing, Sound Editing and Visual Effects) halfway through the show. Like a palace drama twist, apparent prognosticators on the blogosphere and twitterverse began to speculate the king might be usurped by the young college geeks at The Social Network in the prized Directing and Picture categories.

What a load of rubbish, the Brits would utter. The proceedings panned out to be nothing but hearsay and The King’s Speech was rightfully crowned Best Picture at the end of a long-drawn awkward night.

Franaway a Train Wreck

It was billed as the night where the dour Academy decided to be hip and savvy to appeal to the younger generation with two youthful telegenic movie stars taking over hosting duties from the standard stand-up comedians (Jon Stewart, Billy Crystal, Steve Martin and the Pink Panther, we kid).

The opening montage where James Franco and Anne Hathaway appeared in the 10 Best Picture nominees was a riot, especially when they appeared alongside veterans Alec Baldwin (“Who were those people?”) and Morgan Freeman (“Alec likes me to narrate his dreams. Says I have a soothing voice”). Hathaway appeared in The King’s Speech: “I’ve got news from the future. Microphones get smaller.”

The audience laughed sparingly and when Franaway (termed for convenience sake and not an indication of their sizzling combo) appeared in person on the grand stage, the playbook was out the window and everything kinda went more or less downhill.

“You guys are real,” cooed Hathaway. Awkward silence.

The audience was definitely for real, except Nicole Kidman’s nose. The chemistry between Franaway wasn’t. It felt strangely unreal the entire night. For most parts, Franco looked stoned and distracted. It was alleged he was busy tweeting backstage. Or maybe he was still stuck in that cave as screen legend Kirk Douglas aptly suggested. Franco simply seemed to be in pain or just plain constipated. Tellingly, he admitted in an interview with Vanity Fair earlier he only managed to rehearse on weekends due to his PHD studies in NYU. These young people never learn. Always practice, practice, practice.

At one point, Franco appeared in drag chanelling Marilyn Monroe in Some Like it Hot and made an uncomfortable joke about Charlie Sheen. Hathaway, on the other hand, was all smiles throughout the night and even mustered a solo Broadway number in tribute to Hugh Jackass, um, Jackman. Hathaway was much more confident, doe-eyed, seasoned and natural with ad-lib jokes (“And I thought F stands for The Fighter!”) and a cheery disposition.

‘Nuff said about the mismatched hosts because we are damn sure they won’t appear in the next Oscars telecast. It was evident the attempt by the Academy to attract younger viewers has somewhat tanked because the older folks were left to salvage the show, or whatever’s left. For instance, perennial ex-host Billy Crystal appeared briefly to a baffling standing ovation. Genuine laughter was heard in the auditorium when he joked on fast-forwarding the slow night: “Here are the nominees for Best Pictures.”

But why did Crystal even get a standing ovation? Did the audience miss his hosting prowess that much?

And there was 94-year-old Kirk Douglas who hammed it up with his deliberate delay of announcing the Best Supporting Actress. He fought with the gentleman helper over his walking cane. “You know,” catching his breath and pausing before announcing the winner.  “You look more beautiful than you did in The Fighter,” he gingerly told Melissa Leo. We hope Franco was somewhere (even if it’s in that darn cave) diligently taking notes like how he did back in NYU.

Dropping F-Bombs

Younger viewers would have loved Melissa Leo’s speech when she accepted the Best Supporting Actress award for playing a brassy mom in The Fighter. Clearly, her real life wasn’t too far off from her screen role. “Truly wow…I’m shaking in my boots here…When I watched Kate (Winslet) two years ago, it looked so f***ing easy!” The bleepers came on but it was too late. Twitter and Facebook was buzzing with the F-bomb.

Co-star Christian Bale, who won Best Supporting Actor in the same movie, paid tribute to Leo. In a sly reference to his F-bomb tirade on the set of Terminator movie, Bale said: “‘Melissa, I’m not going to drop the F-bomb like she did, I’ve done that plenty before.” Well played, Bale. The Dark Knight also gave thanks to Dicky Eklund, the real life former boxer he played on screen.

And the last word on the F-bomb belonged to Colin Firth, who chimed when picking up his Best Actor statuette: “I think my career has peaked. I would like to thank the Queen Her Majesty for not putting me in the tower for dropping the F-bomb.” It was a reference to the movie being re-released in America with cuts of the F-word by distributor Harvey Weinstein in order to gain more viewers. Firth later said backstage to reporters adamantly: “In the context of this film it couldn’t be more edifying or less malicious. It’s about a man trying to free himself through the expression of forbidden words. I think the film should stand.”

Listen to Your Mother

Indeed, it wasn’t a night for the young ones. The night belonged instead to the mothers and grandmothers. Hathaway acknowledged her mom in a nervous banter (Mom: “Stand up straight. Steven Spielberg is here!”) and Franco’s grandmother quipped: “I just saw Marky Mark!” The camera cut to a bemused Mark Wahlberg and the (infamous) constipated look on Franco.

On a more serious note, Tom Hooper, who won Best Director for The King’s Speech, attributed the making of the movie to his mother who called him after seeing a stage version earlier. “She said, ‘Tom, I think I’ve found your next film’.” He continued with one of life’s most important lessons: “Moral of the story is listen to your mother.”

And the Academy swooned over the moms, crowning a mom-to-be to be exact. The pregnant 29-year-old Natalie Portman, looking gorgeous in a deep-purple Rodarte gown, received the Best Actress award for her tour de force performance in Black Swan, the only award of the night for the film. She later revealed backstage that she would not be naming her baby Oscar and the baby was playfully kicking during the song performances. Cute.

Writers have the Last Word

A testament of their wins, screenwriters Aaron Sorkin and David Seidler demonstrated their wit and candour in their acceptance speeches. Sorkin, who won Adapted Screenplay for The Social Network, pleaded to his daughter for some “respect from [her] guinea pig”. He thanked everyone concisely despite the orchestra playing him off once.

And during Seidler’s acceptance speech for Original Screenplay, he spoke with fondness and warmth: “My father always told me I would be a late bloomer. I believe I am the oldest person to win this particular award. I hope this record is broken quickly and often.”

And the Best Presenters go to…

At times, the awards didn’t seem to fare too badly thanks to hilarious, however brief, moments from the presenters. Jude Law and Robert Downey Jr, when presenting Visual Effects which Inception won by the way, showed doses of remarkable wit in their banter, especially on Downey’s chequered past. Law retorted to Downey’s smart-alecky talk: ”If it wasn’t for them [visual effects artists], your closest association with a superhero would’ve been in 2001, when you got busted in a cheap hotel with a woman dressed as Batgirl.”

Downey had the last word, naturally: “”Okay, first of all, that cheap hotel room cost $1,250 a night with a corporate discount. Secondly, it was 2000, not 2001. And most importantly, she was dressed as Wonder Woman. And that attention to detail is what has won the respect of all the Academy voters.” The bromance was infectious.

Another hilarious couple, as odd as the pairing seemed, was comedian Russell Brand and Best Actress Helen Mirren. Brand translated (and fabricated) Mirren’s French when presenting Best Foreign Language Film. We’re pretty sure Mirren at one point called Brand an idiot, to which the bloke mistook as a compliment on his handsome rugged looks. We beg to differ, oui!

Similarly, Sandra Bullock reminded us why she is America’s sweetheart when she effortlessly introduced the five Best Actor nominees with great panache. “You scared the entire nation with your haircut,” she told Javier Bardem, nominated for Biutiful, not No Country for Old Men. She acknowledged Jeff Bridges as the Dude and asked Firth, the eventual winner, if he “planned on going home some time”.

And we almost gave the Best Presenter award to Oprah Winfrey as well when she came on but we didn’t. Because she didn’t give everyone in the audience a free sedan car or a trip down under.

As Time Goes By

Frankly, we are disappointed at how the telecast has once again failed to stir any imagination (or re-imagination for that matter) and ignite the movie-magic experience as a result of the hosts’ lack of chemistry, odd moments (another Bob Hope tribute, really?), awkward banter between hosts, presenters and even reporters and stars backstage, more awkward silences amongst the audience, presumptuous takes (the King’s Speech score soars through the 10 Best Picture montage before the winner was announced) and inconsequential cameos (Kevin Brownlow, Eli Wallach and Francis Ford Coppola appeared for a grand total of 4.5 seconds before being cut off).

The entire evening was just awkward, listless and dull. And you didn’t have to be in the Kodak Theatre to feel it. Pulitzer-Prize film critic Roger Ebert felt the same and called the show “dead in the water”.

In the end, the hype machine has failed. Young Hollywood, represented by the college kids of today’s wired and connected social network, didn’t really manage to take over the Establishment, symbolised by the stuttering King overcoming his condition and building a long-lasting friendship with his speech therapist in bleak World War times. The Academy, with its majority of old hands and wise adults favouring the warmth of a British period piece and its inspiring themes of friendship and conquering adversity, returned to its comfort zone, not ready to change or Facebook like the cool quotient.

One may argue The King’s Speech didn’t exactly make a big deal with a clean sweep of its 12 nominations but it did ascend to the throne nonetheless with four major prizes. That was a feat in an even playing field with equal distribution for all – Inception, the crowd pleaser and brain teaser mostly for younger geeks, took four prizes too in the lesser glam technical categories. The Social Network trailed with three prizes while The Fighter and Alice in Wonderland each had two.

But who’s keeping score, seriously?

The Oscars ritual has long since been demystified, with its tradition of comparing ballots excitedly amongst friends and simply watching the stars razzle-dazzle on the TV screen as idols disappeared down the rabbit hole.  The desperate attempts by the Academy to be hip and all-inclusive by feeding online audiences with exclusive access and more backstage footage on Oscars.com (we hear the winners speak on and on about their wins) exemplified how the magical and mysterious attraction of the movie star are gone and audiences are spoilt for choices. Is it a case of too much for their own good? Even the joke to be relevant and Apple-hip fell flat (Justin Timberlake introduced Best Animation Feature with an app).

But we do not lament the inevitable.

It’s clear however as time goes by, the Academy will continue to woo the younger generation with new antics, conjurations and showings like a circus ringmaster. And we pray the circus will stay in town for a little while more.

For the full LIVE tweet transcript of the awards show, read here.

For the full LIVE tweet transcript of the red carpet, read here.

For the writer’s predictions on the Oscars (14 out of 18 correct), read here.

Layout: Yeong Kar Yan

Full Winners’ List

BEST PICTURE
The King’s Speech

BEST ACTOR
Colin Firth, The King’s Speech

BEST ACTRESS
Natalie Portman, Black Swan

BEST DIRECTOR
Tom Hooper, The King’s Speech

BEST SONG
We Belong Together,” Toy Story 3, Randy Newman

BEST EDITING
The Social Network, Angus Wall and Kirk Baxter

BEST VISUAL EFFECTS
Inception, Paul Franklin, Chris Corbould, Andrew Lockley and Peter Bebb

BEST DOCUMENTARY
Inside Job, Charles Ferguson and Audrey Marrs

BEST LIVE-ACTION SHORT
God of Love, Luke Matheny

BEST DOCUMENTARY SHORT
Strangers No More, Karen Goodman and Kirk Simon

BEST COSTUME DESIGN
Alice in Wonderland, Colleen Atwood

BEST MAKEUP
The Wolfman, Rick Baker and Dave Elsey

BEST SOUND EDITING
Inception, Richard King

BEST SOUND MIXING
Inception, Lora Hirschberg, Gary A. Rizzo, and Ed Novick

BEST ORIGINAL SCORE
The Social Network, Trent Reznor and Atticus Ross

BEST SUPPORTING ACTOR
Christian Bale, The Fighter

BEST FOREIGN LANGUAGE FILM
In a Better World (Denmark)

BEST ORIGINAL SCREENPLAY
The King’s Speech, Screenplay by David Seidler

BEST ADAPTED SCREENPLAY
The Social Network, Screenplay by Aaron Sorkin

BEST ANIMATED FILM
Toy Story 3

BEST ANIMATED SHORT
The Lost Thing, Shaun Tan and Andrew Ruhemann

BEST SUPPORTING ACTRESS
Melissa Leo, The Fighter

BEST CINEMATOGRAPHY
Inception, Wally Pfister

BEST ART DIRECTION
Alice in Wonderland, Robert Stromberg, Karen O’Hara

What’s happening:

Quick thoughts and full winners list of the Oscars: http://theurbanwire.com/2011/02/28/oscarswinners

One word to sum up the Oscars telecast: Awkward. For more insights, check back later on theurbanwire.com #oscars

We have come to the end of the Oscars twitter coverage. Check back later for a full report. See you at the movies!

For a full transcript of the Oscars tweets, visit our website now! www.theurbanwire.com

Somewhere over the rainbow pops the Oscars winners!

Go google PS22 from Staten Island, New York!

The King’s Speech wins Best Picture. Long live the King!

Steven Spielberg announces Best Picture with a graceful acknowledgment of the other 9 pictures that didn’t win.

Colin Firth acknowledges Tom Ford. Yes we are reminded of his A Single Man loss.

“I have a feeling my career just peaked.” – Colin Firth, Best Actor.

Colin Firth wins Best Actor for The King’s Speech.

James smiles painfully backstage. We think he’s still stuck in that crevice.

“Jesse, I’m still waiting for you to accept my friend request on Facebook.” – Sandra Bullock. First FB joke of the night!

Sandra Bullock acknowledges The Dude!

Sandra Bullock says ola to Javier Bardem! “You scared the whole nation with your haircut.”

Cue tears from every Best Actress winner. We have been following you since The Professional, Natalie. We love you!

Natalie Portman wins Best Actress for Black Swan.

Is there a glow on mom-to-be Natalie Portman?

Jennifer Lawrence looks hot! Resembles Hayden P from Heroes.

Jeff Bridges introduces Best Actress nominees.

James Franco does not look directly at the camera half the time. What’s he staring at? His twitter screen?

Brownlow, Coppla and Wallach on stage for brief standing ovation.

Why is Annette Bening doing on stage? Go back down and wait for Best Actress announcement!

Tom Hooper in a moving acknowledgment of his mom “Listen to your mother.”

The King is not ignored! The King’s Speech looks good for Best Picture now!

Tom Hooper wins Best Director for The King’s Speech! First nom and win!

Hilary Swank introduces Kathryn Bigelow, Best Director.

Anne Hathaway looks like a fish wrapped in a tight patent blue dress.

Recap: 4 wins for Inception, 3 wins for The Social Network. Can King’s Speech make a quick dash to the throne?

Best Actor Colin Firth; Best Actress Natalie Portman; Best Picture King’s Speech; and Director Tom Hooper. Outguess us!

We are onto the last lap of the show. 4 major awards coming right up! Can The King’s Speech win the biggest prize of the night?

RT @TheAcademy “It’s not the load that breaks you down, it’s the way you carry it” – Lena Horne

Goodbye Gloria Stuart, Ronni Chasen, Leslie Nielsen, Patricia Neal, Lynn Redgrave, Peter Yates, Dennis Hopper and Jill Clayburgh.

Oscars favourite Celine Dion performs for In Memoriam.

“Analysts” are saying momentum is with Inception and Social Network now. As the Brits would say, “What a load of rubbish!”

Someone tells James Franco to stop tweeting and concentrate on NOT looking constipated on stage. #oscars

RT @TheAcademy Coming up #Oscars “In Memoriam”

We Belong Together by Randy Newman wins Best Original Song. Second award for Newman.

Gwyneth Paltrow performs ‘Coming Home’ in Country Strong. Nope she isn’t singing ‘Forget You’.

Jennifer Hudson presents Dido and A R Rahman for ‘If I Rise’ in 127 Hours.

James Franco tells us these movie titles are inappropriate: How to train your Dragon, Winter’s Bone and Rabbit Hole.

That’s how the awards season has been. Social Network gains momentum early (3 wins so far) but King’s Speech has the last laugh. Perhaps?

The Social Network wins Film Editing.

Inception completes trio of wins tonight. No wait, Chris Nolan is still up for Director. No wait, he isn’t even nominated. Still dreaming!

Inception wins Visual Effects.

Props to Jude Law on slighting Downey. “Batgirl!”

Robert Downey Jr and Jude Law present Visual Effects. Bromance!

We see another tribute to Bob Hope. Wasn’t there just one few years ago? And the producers say they are running long.

Billy Crystal fast forwards the telecast: “Here are the nominees for Best Picture.”

Did you know: PM Lee was interviewed in ‘Inside Job’ by Charles Ferguson.

Inside Job wins Documentary Feature.

Will Banksy appear? Will he???

Correction: O presents Best Documentary.

O presents her book club.

‘Fishing for Facebook’ remix. ‘He doesn’t own a shirt’ remix on Twilight. Nice.

OMG. Harry Potter and ‘Tiny Ball of Light’ remix.

God of Love wins Live Action Short Film.

Strangers No More wins Documentary Short.

Amy Adams (looking really old in too sparkling blue dress) and Jake Gyllenhaal present Documentary Short.

Aaron Sorkin backstage: “I’ve grown to love him very much.” On his email exchanges with fellow screenwriter David Seidler.

Mandy Moore in resplendent blue. Beautiful.

Oscars favourite darling Randy Newman performs.

Kevin Spacey presents Original Song.

Alice in Wonderland wins Costume Design. Deservingly.

The Wolfman wins Best Makeup. “It’s gross.”

The regal Cate Blanchett presents Makeup.

Marisa Tomei radiates even in dark colours.

Recap: Why are we seeing less of James Franco? Is he stuck in a hard place between a place and a rock?

It’s not a King’s sweep as expected. Can it resume the momentum to win the biggest prize of the night? Plus director is too close to call.

Inception wins Sound Editing.

Another shout out to the snubbed director Chris Nolan. “Chris is the architect.”

Expect Inception to win the technical awards including sound editing and visual effects.

Inception wins Sound Mixing.

Keeping score: It’s The Social Network 2 The King’s Speech 1. #oscars

The Social Network wins Best Original Score.

Hugh Jackman and Nicole Kidman present Original Score.

“I’m not going to drop the f-bomb like Melissa did. I’ve done that many times before.” Christian Bale, Best Supporting Actor.

Christian Bale wins Best Supporting Actor. #oscars

Reese Witherspoon presents Best Supporting Actor.

In a Better World from Denmark wins Foreign Film.

Russell Brand and Helene Mirren show the Americans how to crack a joke on stage!

First Charlie Sheen joke heard! As mentioned by James Franco in drag.

Anne Hathaway does a musical. “Hugh Jackass!”

Melissa Leo owns the F word now! #oscars

David Seidler: “I’m a late bloomer.”

As expected, it’s a match up between The King’s Speech (Original Screenplay) and The Social Network (Adapated Screenplay). Score 1-1.

The King’s Speech wins Original Screenplay. #oscars

Aaron Sorkin is eloquent and speaks in lightning pace like his award winning screenplay. #oscars

The Social Network wins Adapted Screenplay. #oscars

Josh Brolin and Javier Bardem present Adapted Screenplay.

Recap: James Franco looks constipated, Kirk Douglas is a tramp and Melissa Leo makes a SPEECH! Boys everywhere download Mila Kunis wallpaper

Mila Kunis, be careful how much you bow or bent. Your low-cut dress is way too low for a PG rating.

Toy Story 3 wins Animated Feature. Is anyone even surprised? #oscars

Hottest buzzword right now: “You know.” #oscars

The Lost Thing wins Animated Short Film.

Justin Timberlake and Mila Kunis on stage. HOT.

No worries if you’re late to the show! Get our tweet transcript on the Oscars Awards Show at The UrbanWire here: http://fb.me/SzLJWGm6

Anne Hathaway: “I thought F stands for The Fighter!”

The F word appears 25 mins into the show. Goodbye Leo. They are going to take back your award.

Melissa Leo: “But I’m just shaking in my boots here. I’m kinda speechless. It looks so f**king easy!”

Kirk Douglas redefines how to present an award. With suspense.

Melissa Leo wins Best Supporting Actress.

Melissa Leo, recently blackout-ed for her personal for your consideration ads, gets warm applause.

Kirk Douglas fawns over Hathaway and then presents Best Supporting Actress.

Missed the red carpet action at the Ocars? Check out our tweet transcript! But meanwhile, more on the awards show… http://fb.me/Nxl5d553

Standing ovation for Kirk Douglas.

Shout out to Christopher Nolan! Best director snub.

Inception wins Best Cinematography.

Tom Hanks presents Cinematography.

Alice in Wonderland wins Art Direction!

Academy award winner Tom Hanks presents Art Direction.

“It’s been a good year for lesbians! The Kids are all right! Black Swan! Dancing lesbians! Toy Story 3! Where’s the dad?”

Anne introduces her mom and James intros his grandma. Grandma: “I just saw Marky Mark!”

“James, You look very appealing to the younger generation.” Anne Hathaway speaks the truth.

FYI readers, Franaway are naturally your hosts tonight James Franco and Anne Hathaway!

Alec Bladwin: “Who are those people?” on Franaway.

Franaway in The King’s Speech: “I have good news for the future. Microphones get smaller.”

The Oscars opens with Anne Hathaway and James Franco in Inception, The Social Network, The Fighter, True Grit and Morgan Freeman!

RT @oscar_awards: RT @theacademy: Welcome to the 83rd Annual Academy Awards #Oscars

Tom Hanks to present the first award. Buzz buzz buzz. #oscars

The stars are filling up the Kodak Theatre. We are a minute away from the big show! Expect a breezy awards. The genre montage is canned!

We wrap up the red carpet tweets with our favorites: Hilary Swank, Scarlett Johansson, Marisa Tomei and Natalie Portman in baby glow!

We are wrapping up the red carpet tweets with our favorites: Sandra Bullock, Andrew Garfield, Jennifer Lawrence, Mila Kunis, Jennifer Hudson

Mila Kunis pretty in purple. It’s a lacy (and low-cut) Elie Saab gown! http://yfrog.com/h8uzrpyj

Shout out to Marisa Tomei, missed earlier in the tweets. Gorgeous in blue. #oscars

Everyone’s really into the pink/red today. Jen Hudson! – http://yfrog.com/h2cvbqmj

Jennifer Lawrence from Winter’s Bone http://yfrog.com/h4pd7lcj

Overheard on the red carpet: Gwyneth Paltrow, regular Oscars fixture, advises the newbies: “Don’t go too far into the avant garde.”

“I think I owe a lot a people, so thank you if I win or not!” Mark Ruffalo in his fake acceptance speech on Twitter.

Andrew Garfield looking hot as usual http://yfrog.com/h7zwmhgj

Award presenter for Best Actor, Sandra Bullock, in a stunning red dress http://yfrog.com/gyzbmwzj

Giuliana Rancic, after hosting on E!, struts the red carpet in her sea dress. #oscars

Is her dress purple or red? Apparently, it’s showing different colours on different screens. Tell us, Natalie Portman! #oscars

James Franco is interviewed in the Oscars room. Looking laid back. #oscars

Marry me, Natalie Portman. #oscars

Follow us on Twitter at http://twitter.com/theurbanwire for live tweets on the Oscars! Enjoying red carpet action… http://fb.me/QvFV4j7K

As expected, Natalie Portman wears Rodarte. #oscars

Ryan Seacrest interviews Best Actress nominee Natalie Portman. Lucky man. #oscars

Natalie Portman arrives! And she wears purple. #oscars

We are mins away from the Oscars! If you haven’t got a clue, check our predictions http://theurbanwire.com/2011/02/25/oscars-predictions

Where is Natalie Portman and her baby bump? We await the black swan with bated breath! #oscars

Lisa S, host in Hongkong, hosts the Star World Oscars special. She wears a gown, in a ballroom, watching a TV screen. Hilarious. #oscars

Dear Singapore readers, Channel 5 will not be airing the Oscars live. Follow the tweets here instead! Tell your friends and colleagues too!

Robert Downey Jr looks subdued for a change. #oscars

Gasp! Does director Lisa Cholodenko have an animal on her shoulder? #oscars

Sandra Bullock wears Vera Wang. #oscars

The 2 Jennifers in almost similar colours. Jennifer Hudson and Jennifer Lawrence. #oscars

Marky Mark on the red carpet. The Trumps are here too: Melanie and Donald.

Christian Bale in all black suit and a nice beard. #oscars

Oscars fixture Gwyneth Paltrow wears Calvin Klein in metallic silver. #oscars

Josh Brolin from True Grit wears Zegna at the red carpet. #oscars

Now we know the screams are for Best Actress Sandra Bullock looking good in red. #oscars

Rupert Murdoch and um, Wendi Deng at the red carpet. #oscars

We continue our affections for the Brits. Helen Mirren looks splendid. #oscars

Another couple spotted: Annette Bening and Warren Beatty. #oscars

Nicole Kidman arrives in a structured dress with Keith Urban in tow. #oscars

Hilary Swank wears Gucci. #oscars

Justin Timberlake wears Tom Ford. #oscars

The King arrives on the red carpet. Colin Firth in tux, naturally. #oscars

Celine Dion cuts a svelte figure on the red carpet #oscars

Just how wide/large is the red carpet? It’s CROWDED with Hollywood stars and nosey publicists. #oscars

Hilary Swank is the white swan on the red carpet. #oscars

Helena Boham Carter hams it up on the red carpet. Quirky as usual. #oscars

And the girls screamed for Andrew Garfield looking sharp in a tux. #oscars

The Godfather Francis Ford Coppola is here. #oscars

Scarlett Johansson looks yummy in Dolce & Gabbana. #oscars

Kevin Spacey is supporting The Social Network. #oscars

Best Actress nominee Jennifer Lawrence sizzles on the red carpet in red. #oscars

Jesse Eisenberg looks awkward at the red carpet. For real? #oscars

Best Supporting Actor Jeremy Renner arrives at the red carpet looking all dapper in tux. #oscars

Spotted at the red carpet: Justin Timberlake works the crowd. #oscars

Jennifer Hudson is telling you she looks good in orange. #oscars

Best Supporting Actor nominee Geoffrey Rush arrives at the red carpet. #oscars

Spotted at the red carpet: Melissa Leo in safe white and Hailee Steinfeld pretty in pink. She wears Marchesa. #oscars

Spotted at the red carpet: Michelle Williams wears Chanel. Amy Adams in midnight blue. Mila Kunis is HOT in a violet Elie Saab. #oscars

Welcome to the LIVE tweets of the 83rd Annual Academy Awards! For the next half hour, we bring you the action from the red carpet.

Good morning Singapore and good evening readers elsewhere! We are about to begin our live Oscars tweets shortly. Stay tuned.

To be frank, the Best Picture nominees at the Oscars this year are impressive and offer nothing dire to gripe about. But of course, as with every self-important film critic and pop culture writer, opinions differ on which film deserves to be best. I write a list not for a list’s sake, but to throw up a few more suggestions just for the fun of it since the offbeat and guilty-pleasure movies are often missed at the Oscars.

Was 2010 a good year at the cinemas? It was, and it isn’t. According to movies rating website Metacritic.com, just “30 films met or exceeded the 81 Metascore threshold that indicates ‘universal acclaim’ from critics” compared to 37 films back in 2009. This measure indicates there are fewer critically-acclaimed movies (arbitrary, we emphasise) but it doesn’t mean the rest stinks (only 3 films dropped below 20 Metascore).

Yes, there are lesser superhero movies (the average Iron Man 2 comes to mind) and summer blockbusters last year. And potential franchises that could guarantee sequels and more box office takings didn’t exactly debut to exponential heights (Jonah Hex, Robin Hood, Tron Legacy). But thank god for every dud like Prince of Persia or Sex and the City 2, there is a delightful picture such as Alice in Wonderland and Harry Potter to save the world.

And may Shrek Forever After live happily ever after and rest in peace.

And here are the best pictures according to the zeitgeist, and a few more.

The Social Network

The movie definitely speaks to the zeitgeist, or the spirit of our times. Who would have thought of making a movie out of something as intangible as the Internet, to be more specific a social network? David Fincher’s direction and Aaron Sorkin’s lightning-paced script made it possible, transforming the movie into a courtroom drama that revealed the inner psyche of its founder Mark Zuckerberg. Essentially, we’re looking at the story of a genius who made billions from helping people get connected but failed at his own personal relationships. It’s a cautionary tale that speaks to today’s generation on the perils of greed, corporate skull drudgery and tangible disconnections between humans in an increasingly connected parallel world.

Hereafter

How did Hereafter not make it to the Best Picture list still perplex me considering its pedigree (directed by Oscars fixture Clint Eastwood) and well-loved multiple narrative thread (think Best Picture winner Crash). Perhaps the uncomfortable subject of spiritual afterlife polarises the Academy but in retrospect, Eastwood has objectively treated the topic delicately, coaxing nuanced performances out of leads like Matt Damon. Audiences are not given answers on the possibility of an afterlife, but how to deal with death, grief and the strength to move on.

Toy Story 3

Toy Story 3 completes a lifetime journey of adventure, fun and nostalgia for most moviegoers. Its form may be built on pixels and movement digitally rendered but the characters (or should I say toys) and the story are what made this movie a true classic in the making. You laugh at Woody’s escape sequence, cry at Bear’s plight and embrace every part of the movie for its emotional pull and central theme of friendship. It’s a brilliant finish to a trilogy, an introspection of our childhood, and a gentle reminder to hug our action figurine and teddy bear one last time.

Inception

Once in a blue moon, a visionary director comes along and creates a whole new world of imagination and concept – at least on celluloid. There’s George Lucas and his Empire, James Cameron and his Na’vi people and Peter Jackson and his hobbits. And then we have Christopher Nolan and his dreamscape architecture that roll up skyscrapers and collapses bridges. Inception demonstrates Nolan’s brilliant mind in blurring the line between reality and dreams, perception versus reality, consciousness and unconsciousness, and even limbo in between. We are left to wonder what else can we discover if we were to perform an inception into Nolan’s mad-scientist mind.

The King’s Speech

It’s not easy to make a British period film especially on the monarchy but somehow, Tom Hooper manages to not only make a period piece, but have everyone enjoying every damn moment of it. Thanks to stellar performances from a bona fide British theatre cast (and that Australian interloper called Geoffrey Rush), our spirits are lifted by the king overcoming his stutter and leading the country into anxious times of war with Germany. Plus the bromance between the King and his speech therapist is a joy to behold.

Kick-Ass

The absurd movie has gotten several prominent American film critics and their knickers into a twist over its profane language and grotesque violence. But that’s the point! It’s supposed to be a colourful riot and tongue-in-cheek movie that pokes fun at celebritydom, voyeurism, spandex superhero costume amongst other irrelevant stuff. Kick-Ass is so clever and self-aware, reeking of Tarantino all over. For the critics (A.O. Scott of New York Times and the eminent Roger Ebert) who couldn’t stomach it, I suggest they take their twisted knickers and turn them into superhero costumes. Come on, let loose a little.

The Runaways

Easily missed because of its unconventional nature (boys will not pay to watch girls in leather performing like hell’s angels), the Runaways offers a close look on how the machinery churns out the first all-girl rock band and its climb to success and eventual decline. Both Kristin Stewart and Dakota Fanning bring out the raw energy and sexual charge hardly seen in their prior careers. This is a hardcore chick flick with drugs, guitars and an edge.  

Easy A

It’s a typical high-school coming-of-age story but Emma Stone single-handedly owned the summer movie and made the one-liners and zingers palatable and well, funny. The redhead radiates and reminds us that a star is born. Having followed her religiously from The House Bunny to Zombieland, I write with biased glee and unreserved affection that Easy A warrants a spot on the list. Oh, have I not mentioned I’m in love with Emma Stone?

The Fighter

The Fighter works like every boxing movie: brassy, energetic and in-your-face. Amidst the rumble and tumble in the ring, the conflicts of an individual fighting and breaking free from a dysfunctional family reels one to invest into his story. As much as it was about boxing and becoming champion, the audience is intrigued to know what happens to the fighter. A compelling piece of work.

Black Swan

How far would one go for his or her art? The question of perfectionism of one’s craft consumes every consummate artist and Natalie Portman portrays the tension between perception and perfection in  tipping fashion in Black Swan. We are thrown into the rarefied and exalted world of ballet that celebrates the physical (female) body, defies laws of gravity and embraces the grace of even a gentle gesture or tiptoe. We become spectators of the objectified female image, how it breaks free from its entrapment and transforms physically and sexually in relation to its art. And then we are reminded of the derision and madness when the lights go up in the cinemas.

And a few more good pictures…

Blue Valentine The trajectory of a short-lived marriage from its sweet origins to its eventual decline takes away any hope from a singleton (like me) on the possibility of  love.  Heart-wrenching and heart breaking, the movie works as a bittersweet tale but it has also failed many moviegoers with its affecting premise. I do not believe in love anymore.

Scott Pilgrim vs the World All hail the king of super nerd cool and awkward conversations Michael Cera, star of the indie-spirited movie infused with rock and roll roots, geek humour and video games eccentricities.  The movie is so fun like an underrated PlayStation game you can’t get enough of!

The Kids are All Right The movie proves that all relationships and families never mind same-gender or single-parent are the same: they all have their own fault lines. And they work hard to make them all right. The character-driven dramedy feels like a TV movie/miniseries sometimes and that’s the beauty of it – it’s intimate, heartfelt and real.

Alice in Wonderland Finally, a movie that works in 3D in a year-of-rubbish-movies-that-pretend-to-be-magical-in-3D (think The Last Airbender). The gorgeous sets, art direction and eye-popping visuals make the movie feel so alive and wonderful! Doesn’t it make you feel like having tea with the Mad Hatter?

Harry Potter and the Deathly Hallows Part I Some lament it’s simply a transitional movie but I think it tells us something deeper — Harry, Hermione and Ron have come a long way and their friendship is put to test in dark times with questions of insecurities and jealousy, issues that are relevant to teenagers. We feel for the trio, and we are reminded of their bravery, courage and true friendship. The movie doesn’t soar with action and wades gently in anticipation of something greater.

We have to love James Franco and Anne Hathaway (or Franaway, if you ask me) when they appear on television to billions of viewers worldwide at the 83rd Annual Academy Awards tomorrow. Judging from their constant stream of self-deprecating video spoofs and non-sequitur tweets, it’s clear they are hamming it up to attract younger viewers, who probably can’t tell the difference between Jacki Weaver and Annette Bening (hint: look at their hair and listen to their accents).

Just check out the newly released pre-Oscars video where Franaway go on an Oscars boot camp lifting Oscars trophies as weights, dashing from toilet breaks to stage, and speed reading from the teleprompters. Obviously, the duo is taking their hosting gigs very seriously.

In another comedic spot, Hathaway is seen singing ‘Don’t Cry for Me, Argentina’, mixing it up with the ‘Rump-Shaker’ rap. This is Hathaway at her Saturday Night Live best, a clear indication that the telecast is geared towards viewers weaned on TV shows like aforementioned SNL, Conan O’ Brien, 30 Rock, Tina Fey et al. In other words, the young adults in their 20s and 30s who are most pop culture savvy and the smartest armchair critics today.

Kudos to comedians Alec Baldwin and Steve Martin putting on a good show last year dressed in their suave tuxedos but the Oscars this year is doing its best to be more personal. The show’s campaign tagline ‘You’re Invited‘ appeals to every viewer that the awards is no longer stuffy and exclusive but open and embracing to all.

On its official website Oscar.com, viewers will get to watch additional footage of the awards show with cameras backstage and already given exclusive access to catch the pre-awards parties and listen in to the latest buzz. In addition, there will be Twitter and Facebook updates during the telecast (including our very own live tweets @theurbanwire).

It feels just like you’re in the party.

And having movie stars like Franaway to host the telecast is indeed a smart and calculated move to be all-inclusive, more personal (Franco is nominated for Best Actor and Hathaway has been a constant Oscars fixture) and draw in the crowd. You see, the stars will be compelled to make fun of their own colleagues sitting in the front row and seduce the audiences with their telegenic pouts and winks.

As the show producers suggest, this might just be the winning formula for the Oscars telecast to prosper. Mr Don Mischer, co-producer of the telecast, comments on the choice of hosts in The New York Times, “It was not as much about the drawing power as it was about this whole idea of passing the torch.”

Coupled with the star wattage of the hosts, including a recent revamp of the Best Picture category to include more crowd pleasers (Inception, Toy Story 3), the awards show might just pull in the headlines and ratings sorely missed in the past decade.

If not, we can always count on a Franaway wardrobe malfunction (either actor is fine).

Other Oscar features:

Oscars Predictions: Who will be King of Hollywood’s Social Network?

How the Oscars Nominees are Chosen

How to make a Best Picture

Best Pictures According to The Zeitgeist

Every year, there’s something contentious or arguable about the Best Picture category. But the diverse nominees this year are spot-on and well-loved by all, easily appearing in every critic’s top 10 lists and every movie buff’s to watch/download lists. There’s something for everyone from blockbusters (Toy Story 3, Inception), crowd pleasers (Black Swan, 127 Hours, The Social Network, The Fighter) to indie art films (Winter’s Bone, The Kids are All Right, True Grit).

And while they are different in genres, including revenue generated, these Best Picture nominees are based on universal themes and common subjects. We sift through the pictures, dreamscapes and competitive world of sports and decipher the meanings in between.

Against All Odds

The King stutters. James Franco is between a rock and a hard place. Mark Wahlberg is The Fighter on the verge of becoming champion. From The King’s Speech, The Fighter to 127 Hours, the narrative centres on the protagonists conquering personal demons and overcoming disabilities to rise in dark times to become heroes. Such uplifting and inspiring tales never fail to stir emotions and resonate with audiences.

Finding Father

The kids raised by a lesbian couple in The Kids are All Right search for their free-wheeling biological father while Jennifer Lawrence tries to find a missing father who is seemingly dead from drug overdose in Winter’s Bone. While patriarchal roles are often seen in positions of power, the fathers lately have seen the tables overturned.  They are cheats, irresponsible and have a habit of running away, inciting their children to embark on self-discovery journeys to find them.

Mummy Issues

In Black Swan, Natalie Portman is the perfectionist ballet dancer who lives with her mother in a small apartment that feels claustrophobic and repressive. Her mom, a former dancer, watches over her like a hawk while developing her fledgling career. In The Fighter, Mark Wahlberg the sensible boxer has a manager who is actually his deranged mother. He struggles to walk away from his destructive mom in order to develop his career. Mommy issues are great narrative threads or bugbears that showcase character development and inner psychology, the twin pillars for (over) dramatic acting.

Going Home

Self-discovery journeys about the protagonist having an adventure of a lifetime before returning home to the ultimate destination of warmth, joy and love, always make a good story. And we see them in Inception, True Grit and 127 Hours. Leonardo DiCaprio wants to return to his family (did he, did he not?) after one last inception; Hailee Steinfeld avenges her father’s death before going home; and James Franco survives 127 dreaded hours of starvation, dehydration and a painful separation in a hole before heading back to civilisation.

Other Oscar features:

Oscars Predictions: Who will be King of Hollywood’s Social Network?

How the Oscars Nominees are Chosen

Franaway for Generation Social Network

Best Pictures According to The Zeitgeist