Lindsay Lohan denied entry to Oscars after party

It’s a celeb’s worst nightmare. To turn up at the flashest bash in town, only to get turned away by a couple of beefy bouncers. It's happened to the best of them.. Alex Reid, Jack Tweed and not forgetting the time the Loose Women got turned away from Mahiki in place of Jack Tweed (LOLZ). Well now it's happened to poor old Lindsay Lohan as she attempted to get into a super posh Oscars after party.

A fellow party goer tried to help Lindsay out by asking the doormen 'Don't you know who this is?' To which they replied they knew who she was (we bet bouncers like Mean Girls and know all the words to Jingle Bell Rock) but that they weren’t letting her in (guess they didn’t like it as much as we thought…) leaving La Lohan out in the street, reportedly saying: 'This is so humiliating.' We bet it was, but probably not as bad as the Labour Pains opening night... Jus' sayin.

The party was being thrown by talent agent Gus Oseary who works for the company that represent not only Lindsay herself but also Madonna and Demi Moore.

But hang on, Lilo is best mates with Britney who defo snogged Madonna once – surely that’s a trump card to play? Alas, Linds was sent packing, showing her star in Hollywood is most definitely not as bright as it used to be.

Maybe they were frightened the sticky fingered star might nick all the canapés.

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Tom Cruise and Katie Holmes to Skip Oscars Because of Hathaway's SNL Holmes Impression?

UPDATE: Our friends over at PopEater have officially debunked the story, receiving word from Tom Cruise's "people" that this simply isn't true and completely made up. You can go about your day now.

A few months ago, Anne Hathaway hosted "Saturday Night Live" and did a pretty spot-on impersonation of Katie Holmes. Now she's about to co-host the Oscars (with James Franco), and that means an allegedly embarrassed Holmes and husband Tom Cruise may not be attending the ceremony.

According to the Daily Mail (which is more tabloid than news, so do take this report as trashy gossip), the Cruises "don't want to cross paths" with Hathaway, a former friend of the couple who apparently dissed them bad by going on TV and making fun of Holmes.

Given how well Tom Cruise plays with his own image in the underrated "Knight & Day," and since he's become buddies with Ben Stiller, who does a great impression of the movie star, sometimes opposite the real deal, you'd think he would have a better sense of humor regarding parody.

Or, maybe he's only okay with self-parody? Perhaps he's more protective of his overly sensitive wife? But it's also the Academy Awards, where films and stars are made the butts of jokes -- maybe not as much as at the Golden Globes or a Comedy Central roast -- but also no less than what Hathaway did on "SNL."

And you know that if this story is true and the boycott happens, Hathaway and Franco will probably just go and do more Holmes and Cruise spoofs on the Kodak Theatre stage. Actually, there's probably not enough time for such an irrelevant routine.

Either way, if Cruise does not attend, it would be due to his shooting schedule, as a spokeperson for the actor claims. Plus the fact that he has no real reason to attend this year anyway since neither "Knight & Day" nor Holmes' own 2010 releases ("The Romantics" and "The Extra Man") will be nominated and he has nothing new to promote.

Here's Hathaway's Holmes impression, if you missed it back in November:

Get more on Anne Hathaway at PopEater

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Does Helena Bonham Carter Need an Oscars Stylist?

By showing up the the 2011 Golden Globes wearing mismatched shoes, Helena Bonham Carter proved she doesn't adhere to fashion rules. And even though the quirky actress already dubbed her upcoming Oscars gown a "catastrophe," one stylist hopes the nominated actress will take her fashion statement a little more seriously for the Oscars.

"She is a brilliant actress, so she needs to be a bit more serious about her wardrobe," fashion designer Carmen Marc Valvo told PopEater at the 23rd Annual Bailey House Auction party.

Although the actress isn't interested in stylists, Valvo would step up at the last minute to give her a stunning look for the Oscars. "I would give her whimsical and quirky personality a bit of sophicication," he said.

Carter, who plays a young The Queen Mum in 'The King's Speech,' is nominated for best supporting actress at the 2011 Oscars.

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Forget the Oscars: Here Are the Best Bit Performances of 2010

The Oscars pretty much have the best performances of the year on lock. And while Best Supporting Actor/Actress nominations can come from brief performances -- see Alan Arkin's winning turn in 2006's 'Little Miss Sunshine' -- we at PopEater think there are some true heroes being glossed over.

Those screen sensations are the bit actors. Their parts range from a few minutes to mere seconds, but the performances often warrant a reward in their own right. (Yes, we're talking about you, creepy old 'Shutter Island' woman.)

Without further ado, we present the Bitties, honoring the best bit parts of Oscars season.

Best Creepy Old Woman: Jill Larson as Manacled Woman in 'Shutter Island'
Leonardo DiCaprio arrives at Ashcliffe Hospital. He sees a grinning mental patient raking the grass. OK, unstable, but not really threatening. Then a senior mindlessly pruning in the garden. Seems harmless enough. Then a semi-comatose young woman wandering by. Nothing too disturbing there. Ah, hold up -- who's the deranged old woman with the spooky vacant eyes, almost no hair and a ragged scar across her neck?! If you were wondering where Scorsese unearthed the frightening loony-bird that you can't forget from the trailer ... the answer is Pine Valley. Yep, that's Opal. Relive the super-creepy moment 36 seconds into the trailer:

Best Actor Playing Younger Version of the Lead:
Enver Gjokaj as Young Jack in 'Stone'
The least meaty role in a movie? It has to be the young version of the protagonist -- as in Kiddie Bruce Wayne or Eighth-Grade Olive. So credit Enver Gjokaj, known, if at all, as Victor in Joss Whedon's now-departed 'Dollhouse.' In 2010, his chilling flashback performance opened the Edward Norton/Robert De Niro psychological thriller 'Stone.'

In the scene, Gjokaj plays parole officer De Niro as a young man threatening to harm his daughter to keep his wife a literal prisoner in their unhappy marriage. It's a tiny but terrific piece of work in which Gjokaj seems to be channeling the De Niro of 'Mean Streets,' 'The Godfather: Part II' and 'The Deer Hunter,' where his savage intensity is matched by his unaffected, easy manner.

Best Normal Person Playing Himself:
Sgt. Russell Schalk as Army Recruiter in 'Winter's Bone'
Oscar voters love to give out statues for playing a real person, from Helen Keller to Sgt. Alvin York to Erin Brockovich to Queen Elizabeth, and this year, all signs point to Colin Firth winning for King George VI. Well, we here at the Bitties especially appreciate a Regular Joe/Josephine portraying his- or herself.

The most believable bit performance here is that of real-life Army Sgt. Russell Schalk, who plays himself in Debra Granik's excellent Ozark drama 'Winter's Bone.' In the most quietly poignant scene of the year, he dashes the hopes of desperate teen Ree Dolly, an Oscar-nominated Jennifer Lawrence, who believes enlisting in the Army will solve her dire money woes. Granik explained in an interview that it was Schalk's idea to be more empathetic. His straightforward yet sensitive speech to the troubled girl -- and her terrifically authentic reaction -- is unbeatable.

Best Actress in a Bit Comeback Role:
Winona Ryder as Beth in 'Black Swan'
Natalie Portman's descent into bats**t-crazy will likely win her a gold statue, but we would like to recognize Winona Ryder for bringing her A-game to the smaller-yet-no-less-bats**t-crazy role of an aging ballerina pushed out of the spotlight.

To paraphrase Ethan Hawke in 'Reality Bites': "That girl sure knows how to act cuckoo for Cocoa Puffs." Watch a clip on YouTube >>

Best Actor in a Bit Comeback Role: Robert Romanus as Music Teacher in 'The Runaways'
Stoner Jeff Spicoli goes on to win an Oscar while smooth-talking player Mike Damone vanishes into obscurity. We think Robert Romanus, the actor who portrayed the sleazy but weirdly charming hustler in the 1982 teen comedy classic 'Fast Times at Ridgemont High,' deserved a better fate. Which is why it put a smile on our face to see Romanus pop up in an early scene of the rock biopic 'The Runaways,' playing a corny, middle-aged guitar teacher who tells Kristen Stewart's Joan Jett that girls don't play electric guitar. Romanus is great, a dead-on drip, with all of Damone's cock-sure hustler charm evaporated. What's left is resignation, repression and, dear god, Barry Manilow's wardrobe. And that's what makes Romanus' brief turn strangely moving and sad -- this the same guy who once advised us: "When it comes down to making out, whenever possible, put on side one of 'Led Zeppelin IV.'" See him teach K-Stew some licks:

Best Reaction Shot by a Bit Actor: Unknown Actor as Valet Attendant in 'MacGruber'
Classic MacGruber. He "inconspicuously" pulls up to the front of a nightclub in a red sports club, wearing a white tux and aviator shades. The valet approaches to take his keys, and MacGruber walks right past him. The expression on the valet attendant's face is priceless. Sells the bit. That's what bit actors do. They make the moment work. They do the dirty, unnoticed work that gets the star the laugh. Classic Bitties. Check it out:

Best Nonagenarian Cameo Performance:
Eli Wallach as Old Man in 'The Ghost Writer'
The best cameos are the ones that don't feel like cameos. Rather, a well-known actor slips into a film's landscape, almost unnoticed. That's certainly the case when 96-year-old Eli Wallach appears on screen as the town's gimlet-eyed hermit in this film.

Wallach's oldster tells Ewan McGregor's ghostwriter of the weird going-ons down by the beach. The scene is vintage Hitchcock, no small thanks to Wallach, who epitomizes the bravery to speak of the unspoken that comes from knowing your years on this earth are dwindling.

Best Bit Role by a Rock Star/Musician:
Lars Ulrich as himself in 'Get Him To the Greek'
It's more terrifying than anything you'll see in 'Saw.' In 'Get Him To The Greek,' Russell Brand's has-been rocker Aldous Snow calls his hot wife and finds her in bed with another rock star -- Metallica drummer Lars Ulrich. Seriously, mates, does it get any more grim than that? Lars frackin' Ulrich. Later in the movie, Aldous Snow delivers one of the funniest quotes of the year when he tells the stickman: "Why don't you go and sue Napster, you little Danish twat?" Good on Ulrich for being able to laugh at himself. Turns out that little Danish fellow does have a sense of humor. See the clip:

Best Old Fool: Dakin Matthews as Col. Stonehill in 'True Grit'
Hailee Steinfeld deserved her Best Supporting Actress nomination for her portrayal of 14-year-old Mattie Ross, but we shouldn't forget the little people who lent a hand. Besides Jeff Bridges and Matt Damon, the biggest assist goes to Dakin Matthews, whose two scenes opposite Steinfeld crackle with wit and gentle charm. His character Col. Stonehill enters into a fast-paced negotiation with Mattie. Thanks to this young girl -- who should handle all of America's international trade agreements -- he ends up looking the fool. Thanks to Matthews, at least in small part, Steinfeld will end up walking the red carpet.

Best Over-Sized Baddie: Ronnie Hall as Thump Milton in 'Winter's Bone'
Not since Gregg Allman in 'Rush' have we seen as convincing a badass country drug-kingpin as Ronnie Hall. In the film, he's talked about more than he's actually seen, but when he does show up, you know our plucky teen hero is in deep Ozark manure. Sure enough, ol' Thump orders his wife and her sisters to take Jennifer Lawrence into the barn and beat the tar out of her. What Thump Milton provides is real menace -- not "movie" menace like Mark Strong, the baddie in 'Robin Hood' and 'Sherlock Holmes.' A guy like Thump Milton, that's the real deal. As Gregg Allman would say: "He's no angel, he's no stranger to the dark." Catch a glimpse of Thump at 2:04 in the trailer:

Best Villain Subordinate AKA Henchman #3 Award: Evan Jones as Martz in 'The Book of Eli'
"That was my cat," Evan Jones' dirtbag marauder tells Denzel's Bible-spouting nomad hero in the Hughes brothers' post-apocalyptic actioner. Denzel replies: "Fine specimen." Martz: "I saw you knock him off the bar." Denzel drops this bon mot: "No, I kind of shooed him. I didn't really knock him." We've just entered "shoe shine" territory, and it's only a matter of time that Denzel goes all Joe Pesci on his ass. Martz personifies the gnarly-toothed pest, hassling the minding-my-own-business hero until Denzel finally snaps, unleashing a world of pain on Martz and his fellow vermin. Turns out this isn't Jones' first memorable small role, either -- he played Eminem's buddy Cheddar Bob in '8 Mile.' Watch the clip on YouTube >>

The Coveted 'Couple Minutes of Screen Time Too Short for an Oscar Nom' [Male]:

?Jackie Earle Haley as George Noyce in 'Shutter Island': The disfigured, imprisoned Noyce character only appears in one scene. But being haunted by him long after you leave the theater speaks to Haley's eerie, spine-chilling performance.

?Barry Pepper as Lucky Ned Pepper in 'True Grit': One of the great things about the Coens' rousing western is that it overflows with great little performances. Pepper's volatile, not entirely amoral criminal Lucky Ned stands out as one of the best. 'True Grit' has its fair share of bad hombres, but Pepper's is the most electrifying, as well as the most complicated. His final showdown with Rooster is fantastic -- it's impossible not to sense the mutual respect behind the hardened glares.

?Pete Postlethwaite as 'Fergie' Colm in 'The Town': Has shaving rose stems ever been such a menacing act? Postlethwaite's role as the South Boston mobster boss disguised as a florist is comparatively small, but a fitting end to a career filled with several fascinating characters. See Pete pop up at 1:24 in the trailer:

The Coveted 'Couple Minutes of Screen Time Too Short for an Oscar Nom' [Female]:

?Anna Lise Phillips as Justine Hopper in 'Animal Kingdom': Considering she's only in one scene, it's astonishing how Anna Lise turns our stomach as a coldly efficient lawyer in the best thriller of 2010.

?Jennifer Jason Leigh as Beth in 'Greenberg': It's one of her smallest roles ever, but it reminded us of how darn good she can be when she doesn't over-emote.

?Lisa Kudrow as Mrs. Griffith in 'Easy A': The movie didn't get any love from Oscar voters. (Come on, people, how about a writing nod? Is 'Juno' really any better? And that won Best Screenplay!) Anyway, 'Easy A' was one of the year's best comedies, and one of the funniest lines in the movie was uttered by Lisa Kudrow's tart-tongued guidance counselor Mrs. Griffith. "I'm the guidance counselor; I should know all the students, especially the ones that dress like prostitutes." You may no longer have the Central Perk, Lisa, but now you will always have your Bittie Award! Let's close this thing out right -- with a clip of Kudrow cussin' up a storm [warning: offensive language, clearly]:

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Hollywood rarely crowns British monarchy at Oscars (AP)

LOS ANGELES – It may seem as though Academy Awards voters would be a bunch of fawning monarchists, considering how often the ceremony has been a love fest for all things English. But British kings and queens generally wind up losers at the Oscars.

If "The King's Speech," a saga about Queen Elizabeth II's dad, makes good on its status as best-picture favorite on Sunday, it would become the first film with a British monarch as its central figure to win the top prize in the 83-year history of the Oscars.

Two films with a British king or queen as a supporting player — 1966's "A Man for All Seasons" and 1998's "Shakespeare in Love" — did win best picture. Yet past contenders with a monarch in a lead role have always lost: 1933's "The Private Life of Henry VIII," 1946's "Henry V," 1964's "Becket," 1968's "The Lion in Winter," 1969's "Anne of the Thousand Days," 1998's "Elizabeth" (which lost to "Shakespeare in Love") and 2006's "The Queen."

Actors as British monarchs have fared a bit better, with lead-acting wins by Charles Laughton in the title role of "The Private Life of Henry VIII"; Katharine Hepburn as Henry II's captive queen, Eleanor of Aquitaine, in "The Lion in Winter"; and Helen Mirren as Elizabeth II in "The Queen." Judi Dench won a supporting Oscar as Elizabeth I in "Shakespeare in Love."

Best-actor front-runner Colin Firth as the current queen's father, George VI, is expected to join the winner's list Sunday, though Helena Bonham Carter as his wife, the future Queen Mother Elizabeth, is a longshot for supporting actress.

Losers far outnumber winners: 13 of the 17 actors nominated for playing a British king or queen have lost (there would be one more loser if we throw in Vanessa Redgrave as best actress in 1971's "Mary, Queen of Scots," whose title character schemed but failed to take the English crown from Elizabeth I).

Two actors lost twice for playing the same monarch — Peter O'Toole as Henry II in "Becket" and "The Lion in Winter" and Cate Blanchett as Elizabeth I in "Elizabeth" and its 2007 sequel, "Elizabeth: The Golden Age."

Laurence Olivier lost twice for playing two different kings in Shakespeare adaptations, 1946's "Henry V" and 1956's "Richard III." Kenneth Branagh also lost for his 1989 version of "Henry V."

Henry VIII has gone one-for-three at the Oscars. After Laughton's win, two other actors lost for playing the same role — Robert Shaw as supporting actor in "A Man for All Seasons" and Richard Burton as best actor for "Anne of the Thousand Days" (the latter film also was a best-actress loser for Genevieve Bujold in the title role, as one of Henry VIII's queens, Anne Boleyn).

Before their wins, both Dench and Mirren lost at the Oscars for other roles as British queens. Mirren lost the supporting-actress race as Queen Charlotte in 1994's "The Madness of King George," for which Nigel Hawthorne also lost for best actor in the title role. Dench lost for best actress as Queen Victoria in 1997's "Mrs. Brown."

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Banksy welcome at Oscars, but will he show? (AP)

LOS ANGELES – The question that's kept Oscar observers guessing since nominations were announced last month — Will Banksy show up? — remains unanswered. But the motion picture academy says the bad-boy British street artist is more than welcome to attend.

The elusive graffiti star is up for best documentary feature for his directing debut, "Exit Through the Gift Shop." Since he prefers to hide his face, it has seemed unlikely he would reveal himself before half a billion viewers worldwide on Hollywood's biggest night. Even in his own film, he appears in shadows, wearing a hoodie and with his voice altered to make it unrecognizable.

While publicists for the movie and for Banksy himself declined to comment as to whether he'll be at the Kodak Theatre with the rest of the nominees on Feb. 27, the Academy of Motion Picture Arts and Sciences says it would be happy to see him.

"Banksy and his folks are keeping things very mysterious," the academy's executive director, Bruce Davis, said Friday. "We certainly are expecting the producer of the film to be with us, Jaimie D'Cruz, but I would not be surprised if Banksy were in the audience as well — but I don't think he's going to be wearing a name tag, so it may not be clear."

It seems Banksy was already in L.A. this past week, as evidenced by a few new pieces of his work that have cropped up around town.

One of them, a billboard for the Las Vegas nightclub Light, was tagged with graffiti images of Mickey and Minnie Mouse drinking and smoking with a sexy, scantily clad dancer. CBS Outdoor, which owns the billboard, quickly pulled the image down, saying it didn't meet their standards.

While Banksy's representatives won't comment on the work, as is their custom, Associated Press photos of the billboard match those on Banksy's own website. There was also no explanation as to why the iconic Disney characters were used, but the Academy Awards are televised by Disney-owned ABC.

Contrary to earlier reports, Davis said the academy did not tell Banksy to stay away from the Oscars for fear that he might cause a disruption at the elegant ceremony.

"We like to have the nominees with us," he said. But he added that because of Banksy's penchant for secrecy, "this presents certain problems, and we're talking to people about that. We kind of like to know who we're giving an Oscar to, but I think we can handle that if his film should win — and remember, there are four other contenders here.

"Weird stuff happens on the show, and that's the stuff people remember," Davis said (who can forget the streaker or Sally Field). "If that film should win and if something unusual transpires, that is not a bad thing for the Academy Awards."

"Exit Through the Gift Shop," which follows the evolution of the Los Angeles street art scene as it builds to a frenzy over the latest hot, new thing, is up against "Gasland," "Inside Job," "Restrepo" and "Waste Land."

When Banksy was nominated Jan. 25, he put out a statement: "This is a big surprise. I don't agree with the concept of award ceremonies, but I'm prepared to make an exception for the ones I'm nominated for. The last time there was a naked man covered in gold paint in my house, it was me."

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http://oscar.go.com/

http://www.banksy.co.uk/

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A dogged Aussie collective lands at the Oscars (AP)

NEW YORK – The Australian filmmaking collective Blue-Tongue Films has been around since 1996, when a handful of friends made a short that turned out good enough to warrant persistence.

Next Sunday, they'll enjoy a moment in movies' biggest spotlight: the Academy Awards. Among the nominees of Hollywood veterans and glamorous movie stars is Jacki Weaver, whose supporting actress nod represents not just her fine, disarming performance in David Michod's crime film "Animal Kingdom," but the ascendance of Blue-Tongue films and its tenacious gang of mates.

"We'll all be watching it from wherever we are," says Nash Edgerton, one of the group's founders, speaking from Berlin. "It's a long shot, but awesome that it got that far."

It's been a remarkable year for the seven members of Blue-Tongue, which isn't a production company or a business arrangement of any kind, but a loose group of friends who look to each other for help and inspiration.

Edgerton, a 38-year-old seasoned stuntman of many blockbusters, formed Blue-Tongue with his actor brother, Joel, and Kieran Darcy-Smith — the two of whom had just finished drama school. Their ranks have grown to include Michod, Luke Doolan, Tony Lynch and Spencer Susser, the lone American among the Aussies.

Edgerton's gritty noir "The Square" came out last year to strong reviews. Doolan's short "Miracle Fish" was nominated at last year's Oscars. In April, Susser's "Hesher," a film starring Joseph Gordon-Levitt and Natalie Portman about a heavy-metal drifter that befriends a grieving boy, will be released. Darcy-Smith recently wrapped shooting on his feature directorial debut, "Say Nothing," a psychological thriller.

"It's an incredibly positive time," says Darcy-Smith, speaking from an editing bay in Australia. "There's been a lot of interest. It's opened wider and more international doors. There's a healthy kind of pressure that that brings."

The members of Blue-Tongue are typically scattered across the credits of their films. "Animal Kingdom" was written and directed by Michod, co-starred Joel Edgerton and Darcy-Smith, was edited by Doolan and includes special thanks to Nash Edgerton.

They aren't bound by any aesthetic mantra, but their films do share a gritty realism, particularly in suburban sprawl environs and genre movie templates. They constitute one of the most exciting, hard-earned movements in years. Film Comment hailed them as "the Next New Wave."

In "Hesher," a father and son (Rainn Wilson and Devin Brochu) are shocked out of a stupor when a tattooed, often-shirtless maniac (Gordon-Levitt) moves in. Similarly, Blue-Tongue seems to be injecting a dose of energy into movies — a good, deserved smack in the mouth.

"I think the worst thing that anyone can ever say about your work is, `Eh, it was OK,'" says Susser, speaking from Los Angeles where he's prepping the film's release. "You want people to be passionate in one way or the other."

It all started with 1996's 8-minute "Loaded," which proved to the Edgertons and Darcy-Smith that they — despite having no film school training — could succeed.

"It just inspired us to keep playing, and we found that we played together well," says Darcy-Smith. "We were bouncing ideas off each other. There was a great collaborative spirit. We're also all really good mates. ... We've become, really, family."

Shorts have remained the group's training ground, a way to get their names out there, prove themselves capable to investors and get familiarized with directing. Doolan and both Edgertons recently completed new shorts, including one by Nash, "Bear," that's a sequel to his darkly comic "Spider," which was paired theatrically with "The Square."

"Everyone is continuing to keep it up, keep the ball in the air," says Edgerton, who's currently writing a script for a film he expects to be bigger in scope than "The Square."

More than anything, Blue-Tongue functions like a support system. They share each other's scripts, seeking constructive feedback. When one succeeds, it only makes the others more confident that they might, too.

"It was never something we talked about," says Susser. "It was this group of friends that liked making films — kind of our hobby."

Susser, 33, fell in with the Edgertons while they were all working on "Star Wars: Attack of the Clones." Though he grew up in California, he counts himself as a "wannabe Aussie." He filmed his short "I Love Sarah Jane" in Australia, and is working a script of a feature-length adaptation.

Blue-Tongue's kinship is partly based on their shared interest in portraying emotional authenticity — whether it comes in a crime drama like "Animal Kingdom" or a Zombie film like "Sarah Jane."

"I really like stuff that's honest," says Susser. "Whether it's fantasy or crazy or really silly, I like stuff that feels grounded. I feel like we all have that in common."

It's an inspiring tale: a group of filmmakers, thousands of miles from Hollywood, striving for years to build themselves into feature film directors, many of them arriving with their first movies at once.

"After years and years and years of plugging away at home and getting into a lot of debt," says Darcy-Smith. "It's great now that it's finally come to what I always thought it would: a film."

With movies in the pipeline and scripts in the works, Blue-Tongue may be just getting started.

"I'm keen to see what everyone does with a little more money and doing something a little bit bigger," says Edgerton. "Now, at least, some people will return our call."

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Online:

http://bluetonguefilms.com/

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