This year's Best Picture presenter at the Oscars was Steven Spielberg who could be back at the Kodak next year to collect that same Academy Award for his adaptation of the novel "War Horse." The best-seller by Michael Morpurgo tells the tale of a young English farmhand who enlists during WW I in hopes of finding his beloved colt who has been sold to the cavalry.

Oscar nominees RIchard Curtis ("Four Weddings and a Funeral) and Lee Hall ("Billy Elliot") adapted the 1982 Whitbread runner-up. Newcomer Jeremy Irvine plays the boy with two-time Oscar nominee Emily Watson and Peter Mullans as his parents, and Benedict Cumberbatch as an army officer. 

Four years ago, helmer Nick Stafford turned the epic story into a stunning stage spectacle at the National Theater. The innovative production, which included both actors and puppeteers, won the 2007 Evening Standard, Critics' Circle and Laurence Olivier Awards for set design (Rae Smith and Handspring Puppet Company) while Toby Sedgwick received the Olivier for choreography.

A Broadway run of "War Horse" begins on March 15 at the Vivian Beaumont Theater. Lincoln Center is producing with Bob Boyett and the National as partners. The trailer below teases the magical elements of this production.

At the 2008 Oscars, Hugh Jackman handled hosting duties with great aplomb. This year, he was serenaded from the stage by Anne Hathaway, who sassed him in song for not duetting with her that night as she had done with him two years ago. While she belted out "On My Own," he shifted in his seat and we all hoped he would join her onstage in a razzle dazzle production number.

While that was not be, Jackman did present the Best Original Score Oscar with his "Australia" co-star Nicole Kidman; he looked dashing as ever in his tuxedo. And when Mark Malkin of E! Online caught up with him later in the evening, Jackman admitted, "I did have a great, great time hosting. When I came for rehearsals this year, there was a little tug. I was like, 'I wouldn't mind doing this again.'"

Jackman also revealed that rookie host Hathaway was suprisingly cool prior about the experience: "I saw her at the rehearsals and she even said, 'I feel relaxed; is that weird?' I said, 'Yeah, that's weird.'"

Hollywood's production designers, art directors and set decorators may not have the most recognizable names in the movie industry, but their astounding creations are justly famous. These technical geniuses have been working behind the scenes of our favorite movies for decades, and now, thanks to author Cathy Whitlock and the Art Directors Guild, there is a new book showcasing hundreds of photographs from Hollywood's most memorable films.

"Designs on Film: A Century of Hollywood Art Direction" is a nearly 400 page visual stunner that takes readers on a visual journey through dozens of familiar, breathtaking sets. Movie fans can look at one still photograph and be instantly reminded of the beauty of the entire film: the ancient Roman streets of "Cleopatra," the dark temples of "Indiana Jones," the battlefields of "Saving Private Ryan," the lush forests of "Avatar's" Pandora. Whitlock's writing process fills the reader with information about how each of these various sets was created, how long construction took, the men and women behind the designs, and so much more.

Perhaps the most iconic set of all time is the Emerald City from "The Wizard of Oz." The green skyscrapers were actually modeled after a pre-World War I sketch of "test tubes upside down," notes production designer Jack Martin Smith. When filmed up close, many of the structures utilized the process of matte paintings, "a photographic technique that uses a painting by a matte artist," and then combined those paintings with actual footage.

Fans of "Oz" would also be delighted to learn that the visual effect of coloring the various horses was actually created with Jell-O powder. The powder had to be reapplied frequently because the horses kept licking off the Jell-O due to its sugary taste! As good as the Visual Effects, Art Direction, and Cinematography were for its time, the film didn't win any of these Oscar nominations, instead taking home only Best Original Score and Best Song ("Over the Rainbow").

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The only way the four Academy Awards winners for acting will be back at next year's Oscars will be as presenters. None of them is slated to appear in any release this year that is likely to net them a nomination.

The infanticipating Natalie Portman plans to enjoy motherhood for the foreseeable future. However, she does have three films in the can. Next month, she and Oscars co-host James Franco headline the cast of the fantasy comedy "Your Highness" (photo, left). Helmed by David Gordon Green ("Pineapple Express") this medieval romp pits the pair against each other in a quest for a kingdom. In May, Portman plays the love interest in "Thor." This comic book adaptation stars newcomer Chris Hemsworth in the title role and was directed by Kenneth Branagh. And "Hesher," an indie which debuted at Sundance last year and features Portman in a supporting role as a supportive friend to a motherless boy, is still lining up a release date.

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Hollywood royalty Anjelica Huston is writing her life story for Scribner. The publishing house has assigned Nan Graham, their editor-in-chief to the project. In announcing the acquisiton, Graham said: "We read the pages from Anjelica Huston with such admiration and exuberance. She is a writer. Her voice, her language, her sentences, her eccentric childhood are mesmerizing. This is a literary memoir as well as the story of a formidable actress and fascinating woman."

Added Angelica Huston, “My father once said that interest was the most important thing in the world, and he wasn’t talking about money, but rather the infinite possibilities and choices and patterns we all have in life. In this book, I want to look back at the landscapes that formed me -- the exceptional highs and lows I have experienced.”

In 1985, John Huston directed his daughter to a Supporting Actress Oscar for "Prizzi's Honor." He had done the same good deed for his father Walter Huston in 1948 with "The Treasure of the Sierra Madre." Huston senior won the Supporting Actor prize after two unsuccessful lead bids ("Dodsworth," 1936; "The Devil and Daniel Webster," 1941) and one supporting nom ("Yankee Doodle Dandy," 1942).

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Change could be coming to the Annie Awards with the election of Frank Gladstone as the head of the organization that runs these kudos honoring the best in animation. The recent 38th annual ceremony was mired in controversy after Pixar and Disney withdrew from formal consideration last August citing concerns with the voting process.

DreamWork's "How to Train Your Dragon" -- which led with 15 nominations -- was the big winner, taking 10 races, including best picture. It replicated the feat two years ago of another DreamWorks film, "Kung Fu Panda," which won the same 10 awards while Pixar's eventual Oscar champ "Wall-E" was shut out.

This year, Pixar's "Toy Story 3" and  Disney's "Tangled" received no recognition from these awards. Between them, these two high-profile pictures had managed only five write-in nominations, all of which they lost. Beyond their best picture bids, "Toy Story 3" was in the hunt for best director (Lee Unkrich) and best screenplay (Michael Arndt) while "Tangled" also contends for best screenplay (Dan Fogelman). The extent of the rift was such that eight-time Oscar champ Alan Menken was snubbed for his "Tangled" score.

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Anne Hathaway and James Franco did what they needed to at Sunday's Oscars -- viewership among the desirable 18 to 34 demographic was down just 5% from last year when the record highest-grossing film "Avatar" was in contention. The $2.8 billion haul by that 3-D blockbuster was greater than that of all 10 of this year's Best Picture contenders.

In the fast national numbers, this year's Academy Awards telecast earned a household rating of 24.6 rating and a 37 share in households. Overall, 37.6 million viewers watched this year's kudoscast.

That marks a 10% drop from last year's Oscars which had a 26.5 rating and a 40 share. Those figures translated into 41.7 million people tuning in to see "The Hurt Locker" win six Oscars, including Best Picture, while "Avatar" took home only three technical Academy Awards.

The Oscars are the high point of Hollywood glamour every year. While most of the famous folk who walked the red carpet made an effort to look their very best, a few misguided souls turned up in outfits that can best be described with "what were they thinking?"

THE GOOD
Four past Oscar champs were winners in the glamor sweepstakes. Reese Witherspoon returned to the red carpet for the first time in three years in a simple but tasteful black cocktail dress with just a touch of white at the neckline. Her chic look was enhanced by the most talked-about hairstyle of the night. Clad in a jaw-dropping feathered number, Hilary Swank was an early hit on the red-carpet. Fashionista Halle Berry didn’t let us down in her flesh-colored gown with encrusted crystals and a beautiful ruffled train. Sandra Bullock was a scene-stealer in her Vera Wang red gown with simple make-up and an up-do. And Jennifer Hudson showed off her new body in grand fashion clad in one of the brightest colors of the night -- a tangerine Versace original.

Among the nominees, Hallie Steinfeld, was dressed in an age-appropriate crème colored gown, neither too low-cut or form fitting. Expectant mother Natalie Portman was in a dark purple dress that was her best look of the season. Amy Adams, who is usually bland, dazzled in a glittery blue floor length gown.

Several of the presenters made a splash first on the red carpet led by Oscars co-host Anne Hathaway in a red vintage Valentino gown. Though she changed multiple times throughout the night, she was unable to top this dazzler. Mila Kunis was lovely in lavender, a Elie Saab creation with lace trim. Oprah Winfrey looked fantastic in a black and silver number that was a crowd pleaser. And Mandy Moore was a winner in a Moniuq Luhiller gown that had E! host Gulianna Ranic asking “Who is that beautiful movie star?

Among the men, Oscars co-host James Franco looked dapper in a classic tux. Robert Downey Jr., was a winner in a well-fitted navy blue suit. "Social Network" co-stars Armie Hammer and Andrew Garfield looked great as did nominee Jeremy Renner, all clad in traditional black dinner jackets

THE BAD
Four past Oscar winners were losers on the red carpet. Cate Blanchett, who is usually stunning, came in a bizarre creation that had too many ruffles and was not helped by ugly yellow detailing at the shoulders. Helen Mirren usually looks like royalty but picked a bland and matronly dress. Gwyneth Paltrow was a miss in a metallic number that was too tight and her very unpolished look was coupled with pin-straight hair and minimal make-up And Nicole Kidman wore a oring white Dior dress with elaborate detailing on the front that made a floral pattern.

Among the worst dressed men were Russell Brand, in a hideous navy blue tux paired with a navy blue shirt that made the look too casual, and Jake Gyllenhaal in an ill-fitting tux.    

THE UGLY
Then there were those stars who shone for all the wrong reasons. While Melissa Leo may have won an Oscar, she lost me with her metallic number which was over-the-top and tacky.

Five of the Oscar also-rans were misses on the red carpet first. Among the Best Actress contenders, veteran Annette Benning was in a frumpy number that aged her well beyond her years. And newcomer Jennifer Lawrence wore a red, tightly-fitted dress that was too casual for Hollywood's biggest night.

Two of the Supporting Actress contenders were fashion disasters. Helena Bonham Carter was clad in a black corset and matching black ruffled dress; she declared she wasn’t interested in fashion and it showed. And Jackie Weaver's flashy silver bodice with ruffled dress was all wrong.

Among the men in the running, Jesse Eisenberg always looks like he wants to run away from these events. At the Oscars his bland suit matched his demeanor.

Scarlett Johansson looked like she had taken an old set of lace curtains and turned them into a dress. Penelope Cruz dazzled for all the wrong reasons in a tacky red sparkly number. Sunrise Coigney, who is married to Mark Ruffalo, was a mish-mash in a creation that was half black and half gold foil. And Camilla Alves, who came with Matthew McConaughey, wore a low-cut number that was all wrong for the Oscars.

On this year's edition of the Oscars, there were many highs, a few lows and more than one missed opportunity. While the reviews of the 83rd annual Academy Awards have been merciless for the most part, there was much to praise (and a little to pillory).

THE GOOD
• Anne Hathaway and James Franco may not have had the sexual chemistry that some reviewers lusted for, but their playful kidding put me in mind of siblings who actually get along. And with her mother but not his featured in the opening moments, could they be?

• The acceptance speeches from winners who acted truly grateful: Natalie Portman tearing up as she thanked her parents, Colin Firth making merry about his ticky tummy and Christian Bale referencing his own profrane tirade as a gallant way of shifting the spotlight from Melissa Leo.

• Other lesser-known winners were stars for one brief moment: Best Live Action Short director Luke Metheny ("God of Love") admitting he should have gotten a haircut; Art Direction champ Robert Stromberg ruing he had not lose 20 pounds; Best Cinematographer Wally Pfister ("Inception") hushing the applause as it was taking up his time; and Best Song winner Randy Newman ("We Belong Together" from "Toy Story 3") chiding the music branch for the arcane rules that limited the number of nominees to four.

• The scenic transitions that gave viewers a sense of movie magic. And the inclusion of noteworthy moments in Oscars history, beginning with Tom Hanks telling us that 1939's "Gone With the Wind" was the first Best Picture champ to also claim both Art Direction and Cinematography. 

• The appearance by Billy Crystal to salute the all-time Oscar host Bob Hope. Instead of delivering a monologue, he reminisced about an Oscars moment with the comedian as the stage transformed into the Pantages Theater circa 1953.

• The classy presentation of the "In Memoriam" segment with Celine Dion singing "Smile," a tune composed by movie icon Charlie Chaplin for "Modern Times" in 1936 to which lyrics were added in 1954 by John Turner and Geoffrey Parsons.

• The pairing of presenters who are clearly pals like "Australia" co-stars Hugh Jackman and Nicole Kidman and "Sherlock Holmes" leading men Robert Downey, Jr. and Jude Law.

• Convincing a clearly-nervous Kathryn Bigelow to co-present the Best Director award that she won last year came as a stark reminder that the glass ceiling may only have been cracked.

THE BAD
• Several notable film personalities were missing from the "In Memoriam" photo montage: Betty Garrett from the golden age of MGM, leading man Peter Graves and 1980s child star Corey Haim.

• There was no production number to showcase the talents of Anne Hathaway. Sure she belted out a comic riff of "On My Own" directed at 2008 Oscars host Hugh Jackman, but why did he not jump on stage to join her in a lavish singing, dancing extravaganza.

• The winners who are usually behind the camera were so worried about making the most of their all-too-short of a time at the podium that they lacked spontaneity. Blame that on the show's producers Don Mischer and Bruce Cohen who ran too tight a ship.

• The ill-advised idea to have Matthew McConaughey and Scarlett Johansson sound ridiculous while presenting the two tech awards.

• When Hathaway sang her song, she was clad in a stylized tuxedo. Since she wants to play Judy Garland on stage and film, she should have just worn a tux jacket, as Judy did in "Summer Stock," and kicked up her gams.

THE UGLY
• For Franco to come out dressed as Marilyn Monroe and interrupt Hathaway but then have no song to croak or comedy to play was a wasted moment.

• Annette Bening, in full grande dame mode as an academy governor, introducing the montage of moments from last fall's Governors Awards.

• Kirk Douglas went on too long and appeared to ramble at more than one point and Melissa Leo made matters worse with her crass words of thanks.

•  Setting a recap of the 10 Best Picture nominees to the stirring final moments from frontrunner "The King's Speech" was in bad taste. Why rob the other contenders of their singular moments in the spotlight?

• Having Steven Spielberg present Best Picture for the third time in eight years. While much was made of last year's Best Director win by a woman, the fairer sex has been noticeably absent as of late from this final presentation of the evening. In 2006, "Reds" and "Somethings Gotta Give" co-stars Diane Keaton and Jack Nicholson reunited to announce the winner. And In 2004, Barbra Streisand joined her "Meet the Focker" mate Dustin Hoffman at the podium. Before that the last woman to grace the stage for the final award was two-time Oscar champ Elizabeth Taylor who was there in 1991 with "Cat on a Hot Tin Roof" co-star Paul Newman. The year before Streisand did the duty on her own. In the decades preceding, many women were entrusted with this singular honor, but none since. Two-time Best Actress champ and frequent Oscarcast host Jane Fonda would have been a great choice.