Ahem, MAYHEM.

You know the 'gracious loser' face, where you smile and clap and nod even though you really, really wanted to win. Well try doing that in front of millions, after being told you've won. Unless you've been hiding under a rock you'll know all too well about the biggest Oscar blunder in history and how there was a La La Land / Moonlight mix-up (!!!) Talk about awkward. I've now watched the whole sequence and seeing the announcement and the cheers and tears and heartfelt speeches are so so so heartbreaking and cringeworthy...and then twenty minutes later hilarious. (Turns out they read out a second envelope for Emma Stone's Best Actress win - the accountants at PwC who are in charge of the secret winners' briefcase forgot to count that they still had envelopes left over.) And so, what do you do? Style it out. Yeesh.

"There's been a mistake. Moonlight, you won Best Picture. THIS IS NOT A JOKE."

La La Land producer Jordan Horowitz: "I'm gonna be really proud to hand this to my friends from Moonlight." 

And so the awards were passed on from one killer team to another, everyone briefly on one stage, with more confusion than any sign of bitterness. It's always nice seeing filmmakers come together, though usually in more 'normal' circumstances.

Jimmy Kimmel: "Why can't we just give out a bunch of them?"

Dammit, I wanted another Adele/Mean Girls moment of breaking the trophy in half- which team would get the golden bottom?

Warren Beatty: "I wasn't trying to be funny."

Warren Beatty is not this year's John Travolta. The poor guy was so confused and knew something wasn't right. Luckily he got his chance to explain it though.

Emma Stone: "Oh my God, oh my God."

But in all seriousness, Moonlight was such a deserved win. Even though I am a huge fan of La La Land (come on, you all know this by now), Moonlight was completely spellbinding and beautiful in a very different way. Instead of a big budget production that's been in the works for years, it filmed in a matter of days with at a snippet of the price tag - which could well be a landmark and inspiration for independent films going forward. Audiences are always looking for a stand-out, memorable moment in a ceremony that goes on for about 4 hours, and they certainly got it last night. At least it will go down in history. And good on all parties involved for styling it out - it definitely wouldn't have been easy!

I'd actually like to think there aren't winners and losers here - both films are such masterpieces that they are already winners in their own rights. But at the end of the day there is (supposedly) one name on the card.

Host Jimmy Kimmel aptly put a good spin on a crazy situation...

"It's just an awards show. The good news is...we got to see some extra speeches."

Colour-blocking is hardly new, nor a "trend", but when La La Land burst onto screens with Emma Stone & co.'s bright, colourful dresses, it put a great big smile on my face. It's like the Teletubbies suddenly got fashionable. For years, my Google search history has been littered with the words "yellow dress" as I continue to strive to find my perfect yellow dress. And trust me, I've been searching.

Emma Stone's character Mia pays tribute to the retro style (often forgotten by High Street labels nowadays), with flattering dresses reflecting the glorious, sunny technicolour of the Hollywood age. As the film gears up for the Academy Awards this Sunday, I've been digging up my own La La Land-inspired pieces...particularly the yellow dress! It's my favourite colour - happy, bold, cheery.


And it seems both Mia and Emma are big fans of the colour too, with it being a firm favourite of the actress (Emma) on the red carpet, and the wannabe actress (Mia) in the soon-to-be iconic sunset tap scene.


The La La Land effect is spreading to my favourite online shop too - with ASOS now conveniently stocking many more bright yellow frocks than it used to (trust me, I'd know). Have a browse for yourself and see how you can bring the LA sunshine to your winter wardrobe.

It's here. Are you as excited as I am!?

When I think of "moonlight", I think of an inevitable glow, light in the darkness and I think of reflections. Moonlight delivers with shining performances by supremely talented actors, real life reflections of brutal pain and honesty, thus allowing the audience to bask in the afterglow of one of the most powerful, timeless 110 minutes of cinema this year. And it's destined for star glory. 

Rivaling La La Land and Manchester by the Sea in the 2017 award season stakes, Moonlight is the intimate and heartbreaking and deeply personal contender. But forget all that trophy buzz and let's just appreciate it for what it is in cinematic terms and breakthroughs. It's exactly that - a breathtaking breakthrough. Barry Jenkins shows us what it's like being a black gay man in the US - he shows us by creating something that's as much art as it is an honest recount. The film follows three acts reflecting three names and nicknames: Little, Chiron, and Black. Immediately we have a sense of identity, even if it's a lost identity or one struggling to be seen. Through childhood, adolescence and adulthood, the distinct chapters tell the story of a young gay black man growing up in a rough neighbourhood in Miami, facing the struggles of having an abusive, addict mother, and sexual confusion and repression.

Though this is a storyline without twists and turns, it's the way it has been carefully crafted that makes it so gripping. We have themes that are rarely visited in cinema - or if they are, they rarely do them justice - but additionally, it's a hauntingly visual spectacle rich in imagery. It goes beyond a 'coming of age' movie, and it's the magical moonlit moments that stay with you. There's one scene in particular which is, on the surface, a boy being taught to swim. Sounds simple enough. But with Moonlight, it's the crashing waves, the fatherly arms and the letting go, the timing, the boy experiencing freedom perhaps for the first time, struggling and triumphing over the waves... The water's deep and you know what?! - so is all this imagery. In the Q&A I attended with Jenkins, he spoke of having just one shot at filming this scene, and though he was worried about the grey clouds and turbulent waves, it really couldn't have been more perfect.

The swimming instructor in question is Juan, a surrogate father figure Chiron accidentally finds refuge with. Played by Mahershala Ali, there's something about him with a strange tenderness despite him being a drug dealer. He dominates the screen time he has and deserves his Oscar nomination wholly. Supporting cast also includes a wonderful Janelle Monae playing Teresa, Juan's girlfriend, and Naomie Harris as Chiron's mother who is increasingly tormented by substance and her own downward spiral and demons. We simply have to talk about Harris too, who apparently was initially opposed to playing such a character and actually ended up filming this in the few days she had off during the Spectre press tour. I mean - wow. She is totally transformed and unrecognisable from any other role she's ever played, and this is the sign of a fantastic actress. I hadn't ever considered Naomie Harris as one of the greatest British actresses around at the moment but this changes everything.

But enough about everyone else; this film is centred around one man only. In the words of Jenkins, everyone else around him is but a satellite. Chiron's perspective is hammered home (sometimes literally) through hand-held cameras that are dizzyingly effective. It's hard to imagine this film was made for a mere million-and-a-half dollars. In film terms that's nothing - to give that perspective, the upcoming Pirates of the Caribbean film has a budget of a cool $320 million. Anyway, camera work and intricate details account for much of the impact but the biggest impact is undoubtedly the powerful, powerful performances from the three actors who play Chiron: Alex Hibbert from childhood, Ashton Sanders as a teenager, and Trevante Rhodes as an adult. All sharing equal screen time, these relatively unknown names weren't chosen for their physical resemblance. What they all share is the captivating ability to draw us deep into Chiron's world, through character, lonely silence, his secret longing towards his childhood friend Kevin, the tiniest mannerisms. It's really quite remarkable. The third act nearly has us fooled that Chiron has changed from his troubled, shy, younger self but this hench, gold-toothed grown up man should not be judged on appearance. There's an extraordinary shift in a heartbeat from a single phone call - again, a superb piece of acting. Going back to Hibbert, playing a 'Little' child of little conversation, it's the few lines he does speak that pierce your heart. Though there is physical bullying, a lot of the effects on Chiron are told more subtly.

"At some point in your life, you gotta decide for yourself who you want to be."

Words that could seem cheesy or scripted in any other production have no such worry in Moonlight. It's raw and authentic, with words that will speak to anyone even if you don't have any direct connection to the film's material. Jenkins went away and wrote the script in 10 days - in Brussels. He didn't need to be in Miami because the source, the content was in him, and as a result it wreaks with raw authenticity. I buy into every word; there is just so much heart in this. It's so personal (combined with the simple but clever camera tricks) that I felt intrusive just sitting there. When I found out it was actually based on playwright Tarell Alvin McCraney's own life and play, it made sense that it almost unfolded like a diary. "It was like writing up memories in a diary - two thirds of my life, and going "here, have it" to Barry," McCraney said at the Q&A. The film itself was made in 25 days, but there is no sign of rushing either. Moonlight doesn't feel the need to spell things out (in fact, one critical event is deliberately cut short).

Moonlight is not like a lot of films I've watched in the cinema and I have a lot of time and respect for it. The grave loneliness is tough to watch at times but ultimately the story goes full circle. Add the contrasting, striking visuals that just work, and the haunting music, and you have a film that wants to tell you a story and it'll be one that sticks. Whether it scoops up lots of shiny gold awards or not. Jenkins said so himself: inspiring the kids in Miami who got to watch people from their own hometown make an actual movie is far more worthwhile than if they had won those BAFTAs at the weekend.

Moonlight is in cinemas on Friday 17th February.
Watch the trailer here:

Big exclusive alert! One of my new year's resolutions was to watch a wider range of films, ie. not just the big mainstream blockbusters. And within that, I'm challenging myself to watch more documentaries, starting with these two, and you can follow my journey on the blog in the coming months...

Gleason - Released 14th March

You may remember the ALS Ice Bucket Challenge, and the ALS-related research breakthroughs that followed. The upcoming documentary Gleason is a true story of former American football star Steve Gleason who was diagnosed with the motor neurone disease in 2011. It's about him deciding to live his life to the fullest particularly with a new child on the way, and trying to find his true purpose in life in the following years despite the struggles. It sounds like an inspiring journey indeed.

Letters from Baghdad - Released 21st April

"A piece for Gretchen Wieners...A piece for Janice Ian...A piece for Regina George. She fractured her spine and she still looks like a rockstar."

For years, I thought the Great Crown Split of Spring Fling Queen in Mean Girls was slightly cheesy and would never actually happen in real life. But then the 59th Grammys happened and Adele happened. It was hardly a surprise that the Comeback Queen would walk away with multiple awards following the success of 6 awards in 2012. For 25, she added another 5 to the collection: Album of the Year, Song of the Year, Record of the Year, Best Pop Solo Performance, and Best Pop Vocal Album. But, the difference this time was Adele throwing the "acceptance speech rule book" out, and using her speech for Album of the Year to heap praise on her fellow powerhouse artist Beyonce. Two singers who have earned singular-name recognition, two singers who both released critically-acclaimed albums last year, and both known for more than just their voices.

Take note, Kanye, this is how to storm a stage and dedicate an award to Beyonce.

"I can't possibly accept this award. My artist of my life is Beyonce...The Lemonade album was just so monumental...You are our light."

And so Adele became her own Kanye and showed that she was a true, humble artist by using the biggest award of the night to dedicate to her competitor. Reactions have been all over the place: "Adele is a legend", "But wait, Adele deserved it too", "This looks so staged", "Beyonce's Lemonade wasn't even that great anyway", bla bla bla... I mean, personally I preferred 25, but inspiration is a powerful thing, and to credit your own inspiration in front of so many people is equally inspirational. This proves it's not all about 'Diva vs Diva', and comparisons, and popstar rivalries. It's about respect!
And if that wasn't enough of a statement, Adele then reportedly broke the Grammy in half...a piece for her, a piece for the artist of her life. Cady Heron definitely had a point all those years ago at North Shore High School.

If you also watch the whole speech, there's the first half which has been far less reported on (headliners involving Beyonce are always more attention-grabbing aren't they?). Adele reflected on her own insecurities, describing the album's creative team with "it took an army to make me strong and willing again", and describing her pregnancy and child as "the biggest blessing of my life". But through becoming a mother she "lost a lot of [her]self", using her speech to open up about the struggles of being a mother. That's brave. What beautiful honesty. We may or may not have wanted to be Cady in high school, but we could all stand to be a bit like Adele nowadays.

Watch Adele's acceptance speech here:

The Batman story is one we've seen time and time and time again. Every time it's slightly different, but after last year's less successful Zac Snyder version, we were probably all thinking: Do we really need another Batman movie? But then again, we've never had the Lego treatment. It's a reincarnation made of bricks but somehow breathes fresh life into old toys and an old story. Introducing the most bonkers, self-aware and hilarious version to date featuring actual Tom Cruise. And yes, we definitely need this in our lives. 

The Lego Movie injected life into colourful bricks in 2014, and now in 2017, we have a glorious spin-off of Batman in bricks. It's unashamedly Batman - from every kind of Bat-Transport imaginable, a wonderful Bat-Cave (with a password that pokes fun of Iron Man), all the caped crusader's villains ever, and the trusty presence of butler/surrogate father Alfred. The synopsis is completely familiar - Batman tries to save Gotham City from the destructive threat The Joker & co. However, it takes just about 10 seconds of screen time to know that this is a Bat-Parody, as shown by tongue-in-cheek opening credits basically like a child-friendly version of Deadpool. It never takes itself seriously, and I'm glad it doesn't, because the result is a non-stop laugh out loud story about saving Gotham in a way we never would have imagined.

Whilst Will Arnett's on-point husky (but deadpan) growl mirroring Christian Bale is still there, it's the unexpected differences that make this film stand out. Starting with the concept that Gotham doesn't actually need Batman (has anyone ever wondered why, despite Batman being there, Gotham is still just as crime-ridden?). This goes hand in hand with the brilliant look into the 'relationship' of Batman and The Joker; they need each other, right? Poor Joker's actually a sensitive lip-quivering soul who needs affirmation from Batman as his greatest enemy ever. Unfortunately, Batman's slightly afraid of commitment (a fantastic "I fight around."), works alone, and "doesn't do 'ships. Relationships." Hahaha, forget Batman and Robin, this is a spectacular bromance only a Lego format could get away with.

This non-relationship relationship leads to a journey to the Phantom Zone far away in the skies (Superman fans will like this), trapping all the supervillains who have been banished there. Here, it's a brilliant and devilishly funny team featuring the likes of Sauron (yep!!), Godzilla, Voldemort and the Daleks (aka "British Robots") - just like the bad guys anonymous meetings in Wreck it Ralph. And elsewhere, you've also got all of Batman's nemeses in another squad - Two Face, Bane, Poison Ivy, Mr Freeze...let the geek-out commence. And if that weren't enough, there's a celebratory ode to the Justice League where the all-star voice cameos include Channing Tatum as Superman and Jonah Hill as the Green Lantern. It's ensemble upon ensemble that would make The Avengers jealous.

If you weren't already baffled by all the different characters, let me introduce you the core guys. Commissioner Barbara Gordon, voiced by Rosario Dawson, will be a treat for DC fans, as well as a super-cute big-eyed Robin who accidentally becomes adopted by Batman.  He absolutely idolises his hero. And of course, there's faithful butler Alfred (Ralph Fiennes) who gets a much bigger and kick-ass role. These three contrast with the Batman we're presented with, who's a bit of a loner. He watches Jerry Maguire on repeat, and he microwaves lobster. He's so alone. There's no time spent/wasted delving into the backstory either. We know that stuff off by heart by now. But, the personal journey learning of the importance of family and friends turns into the strong message for the kids. "Make friends, kids! Being part of a team is better than doing it alone! Don't alienate those who care about you!" etc. etc.

This may be a fun-filled film, but there are lots of quips for the non-kids. The Lego Batman Movie laughs at Iron Man, laughs at and ridicules Suicide Squad, laughs at the Superman rivalry, Bane, 1960s Batman, Batman himself... It's completely self-aware and these are chuckles for the grown-ups in the cinema. Apart from last year's Deadpool, there has never been such a self-satirical superhero movie than this.

Sometimes I forget it's a Lego movie, despite its title and the obvious visuals. This is both a compliment and slight drawback because it goes far beyond the limited toy expressions, but the fundamental building element could be utilised even further. There is one poignant 'building' moment where all the Lego 'clicks', but I suppose there could always be more. It is very much all over the place, so by the second half it begins to get a bit tiring for us, but the level of consistency particularly with its sharp humour never dwindles. These Lego characters never run out of energy.

In a fantastic expansion of the Lego universe, Wayne Manor is even bigger and better, Gotham endures enough plastic-shattering destruction to make Zac Snyder proud, and Batman's super-inflated ego makes for excellent comedy. He even beatboxes! Though it is a simple plot, director Chris McKay is not afraid to go all-out with self-mockery and so it becomes a celebration full of comic surprises. You'll certainly leave with a Jokerific grin on your face.

The Lego Batman Movie is in cinemas on 10th February.