Tag Archives: Jennifer Aniston

Red Carpet Rundown: People’s Choice Awards 2011, Part III

The final part of my rundown of People’s Choice Awards 2011 fashions and finally… people I’ve heard of! Is it coincidence that they’re generally better-dressed? It is also coincidence that so few walked the red carpet, complete with the ‘People’s Choice’ shower curtains in the background?

Leighton Meester in Vionnet – My best-dressed at this event was Leighton Meester. But a few short months ago, Leighton would have been on the second list, a name that I saw continually cropping up on the fashion pages alongside Blake Lively but without me having a clue who she was. But I finally started watching Gossip Girl and Leighton is clearly the best thing about the show… and her dress sense ain’t too shabby either. Her style is generally a bit more interesting than Lively’s, a bit girlier and a lot more unpredictable. This dress is so unassumingly pretty, with a naïve handmade feel that made me tumble head over heels for it. I love the flattering ruched neckline, I love the gauzy quality of the grey over the subtle flash of the yellow, I love the appliquéd flowers, I love those peachy drop earring and I love Leighton’s stunning natural make-up, especially those smoky eyes. In short, total swoon.
Boyfriend says: Leighton has come straight from playgroup. Looks like there are food stains on that too too. [Suddenly, I don’t like this feature anymore…]

Kristen Stewart in Reem Acra – How awesome is this photo of Kristen Stewart? She looks like some blissed-out goddess, with nary a trace of the awkward teenager in sight. This gold sequin mini was an obvious choice for Stewart (can’t remember the last time she didn’t bring out the pins) but also, a more unusual choice as she tends to favour darker colours. It’s a total winner though – so glittery and gorgeous that it’s a real shame she denied it its red carpet moment. I love the subtlety of the nude satin back, which turns it from High Street to high fashion. It makes her look like the total star she is – and about time too. Embrace it, K. Stew!
Boyfriend says: A bit tranny-ish.

Taylor Swift in J. Mendel – Actually, the gold spangly number is more of a Taylor Swift thing. The former magpie of the red carpet (she could never resist anything shiny), Swift is finally branching out and discovering that amazing things happen when she does. After Minka and Leighton, this was my next favourite look from the awards. As the amazing Red Carpet Fashion Awards pointed out, there’s something very Rodarte inspired about this dainty blush gown – I’m gonna stick my head out and say it’s the slightly deconstructed nature to the delicate fabric. It fits in perfectly with the Black Swan ballerina fever (or should I call it bird flu?!) going round at the moment; Taylor’s even got a bit of a dancer’s pose going on too! But this is a signature look for her – sweet, innocent, demure – and she looks stunning.
Boyfriend says: I agree with the ballerina theme.

Katy Perry in Betsy Johnson – Imagine you asked your six year-old self what she would wear to the Oscars. You have this dress. Honestly, this shade of purple seems to do weird things to me where I lose all objectivity to any gown that features it (remember Sandra Bullock’s beloved Quality Street moment?) but this is sooooo pretty and girlie and just… gush… love. It’s all big flouncy skirt, lilac ruffles, veins of electric blue and Perry just looks like she loves wearing it. What’s more, the fuchsia peeptoes are amazing, as is the slash of bubblegum pink lipstick, as is the second pose. If Taylor Swift was butter-wouldn’t melt ballerina, then Perry is the ballerina butter-wouldn’t melt ballerina really wanted to be. My inner six year-old just did an excited hand-clappy dance.
Boyfriend says: Too much.

Jennifer Aniston in Dolce & Gabanna – Yes, most of us have been dying for Jennifer Aniston to step out of her style rut. But is this the look we were dreaming of? I highly doubt it. Women working menswear is meant to be an edgy cool look so I’m not entirely sure how Aniston has managed to make this look so safe, drab and 90s – the waistcoat looks like it was stolen from Chandler’s wardrobe on early Friends (or indeed, Penn Badgley and his never-ending parade of old man clothes on Gossip Girl). I don’t think it’s flattering, I don’t think it’s exciting and compared to every outfit I’ve featured (yes, even Tiffany Hines!), it’s just downright dull. That’s why I needed two pictures of Katy Perry – to plug the energy vortex Aniston had created! I’m sure Jen has a few more tricks up her sleeve, but this just ain’t it. Oh well. At least she looks better than she did in The Switch.
Boyfriend says: Just no.

The Switch (sort of) film review

This is exciting as it gets

As far as romcom premises go, the one for The Switch isn’t bad. Man swaps sperm donor sample for his own, chaos ensues etc. However, there was so much wrong with it that I’ve decided to list eight examples for posterity below:

  • No chaos ensues. You’d expect all kinds of zany shenanigans to be going on, instead you just get a child who collects empty photo frames. I am not joking.
  • When did Jennifer Aniston get SO old?! I love Jen, really I do, but really… WHEN?!
  • Who thought that Jason Bateman was a great choice for romcom leading man? I love Jason, really I do (Arrested Development 4eva, etc) and smug sardonic sidekick perhaps, but really… WHO?!

    Would you let this man be your romantic lead?!

  • Jen and Jase have zero chemistry. Nothing. Nada. Zilch. In fact, Jason Bateman has more chemistry with the magazine cover of Diane Sawyer that he wanks over to create the sperm in the first place.
  • When did wild child Juliette Lewis, who even has her own rock band for crying out loud, become rom-com bit part material? As the supportive girlie best friend of all things! In other news, she’s aging into Stockard Channing.
  • Why hire Jeff Goldblum, a bit of a minor movie legend, if you’re gonna give him literally nothing to do? I don’t think he had lines any more riveting than ‘Good morning’.
  • Possibly the funniest moment of the whole 100-minute film comes two minutes in, courtesy of that comedy staple, a man with some kind of Tourettes. Not an auspicious start.
  • The timeline and relationships don’t ring true. We start seven years ago, at the time of ‘the switch’. We then head to ‘the present’ (i.e. seven years from the start of the film), where Jen and Jase’s characters are such believable best friends forever that they’ve not had any proper contact since she left New York to raise the child. Suddenly, they’re back to being BFFs, except Jen feels ‘an energy’ between them (shame no-one felt to let the audience in on this energy too), despite the fact that in the intervening seven years, she doesn’t seem to have dated anyone. Next thing you know, she’s dating the person who she thinks is the father of the child and is considering moving in with him after what seems like one date… and if you thought that was fast, the father of the child (who isn’t the real father, keep up) is planning on proposing after the same length of time. Amongst all this, Jason Bateman *only just* remembers swapping the sperm whilst deciding he can’t live without the kid he’s only just worked out is his.
    Jennifer Aniston seems less of a mother than a benevolent pretty aunt on a sleepover with the child, her decade-long friendship with Bateman is unconvincingly founded on two dodgy dates aeons ago and when they do finally get together, she looks as happy about it as she did when she first saw the box office receipts for the film (hint: not good) whilst their first kiss, generally the crescendo of any good romcom, is so gingerly geriatric that the cameraman may have fallen asleep during filming, no doubt getting more excited about the prospect of grabbing a Subway for lunch later.

Hey look, we're still walking! Still more exciting than us kissing though

That being said, The Switch isn’t terrible. There are some nice quirky moments with Bateman and child, played with a natural ease by Thomas Robinson (so expect Nicholas Hoult style reinvention to cool hot teen in ten years from now). But being neither funny, nor romantic and a terrible waste of potential on all sides, it’s just a bit of a damp squib. An unloved wet patch on the mattress of noughties romcoms, which probably should never have been marketed as romcoms in the first place. Still… Jennifer Aniston’s hair looks nice.


He’s Just Not That Into You film review

I went into He’s Just Not That Into You having heard worrying tales of how depressing it was from my friends. Turns out, I was pleasantly surprised.

The audience is faced with a multitude of characters in a multitude of storylines, revealing this lit-to-flick adaptation’s origins as a self-help book. The writers achieve a balancing act that circus performers would be proud of in keeping each of the starry ensemble’s disparate stories ticking along nicely before resolving them in a not-too-cloyingly-neat manner, whilst fleshing out what is presumably fairly dry relationship guidance prose into actual plots.

Consequently, there are actually enough plots for about 5 movies (hey, that’s 5 more than most indie films manage). What they all have in common is romance, of course, but it pays to not plump yourself down with your popcorn expecting the usual fluffy rom-com clichés. What you actually get are some well-observed witty truisms about relationships – girls believing guys are mean to us because they secretly like us, coming up with convoluted reasons why he hasn’t called, the implausible stories about friends-of-friends who make love work despite the odds. All these antics look patently ridiculous on the big-screen, especially when exposed by Justin Long’s everyman, but they’re all horrifying recognisable from real life.

Jennifer Connelly’s storyline sees her as a repressed suspicious wife (to The Hangover’s Bradley Cooper), Jennifer Aniston as the woman who can’t make her long-term boyfriend (Ben Affleck, at least attempting to act in a manner other than wooden) commit. Both plots are told in a pleasingly low-key manner and are all the better for being without the expected fireworks and melodrama; both characters manage to be more sympathetic precisely because the actresses playing them don’t jump for the ‘pity-me’ jugular.

IMDB trivia states that Connelly gets just 25 minutes screentime, Aniston only 20. Heaven alone knows how many Drew Barrymore gets then (12?!), yet she is typically luminous in her role, with her story of navigating the perils of techo-romance offering some light relief. In a cast that also includes Scarlett Johansson as a mistress, it’s surprising that the least-familiar name (Ginnifer Goodwin) bags the biggest storyline as the desperate girl whose actions are watch-through-fingers cringeworthy yet you can’t help realising you’ve probably been guilty of in the past (not something I cared to share with my boyfriend though!).

People’s disappointment in this film lies with its marketing department, who couldn’t resist the temptation to pepper their posters with love-hearts and photos of the all-too attractive cast smiling in a sunny manner. Although the end is uplifting, there are bumps along the way (and no, we don’t just mean Affleck’s acting) but they’re all-too realistic bumps dealt out with a nice dollop of wit and an air of freshness, taking this a notch above the rom-com formula. I’d take it over Love Actually any day of the week.