The 84th Academy Awards

And so it comes to that grand old time again -- the Oscars. The biggest awards ceremony on the planet, and by far the most watched. Even with dwindling ratings, millions of people across the globe tune in to catch a glimpse of their A-list idols, and see who snags the biggest of big prizes.

2012 sees the return of Billy Crystal, back to resume his love-affair with the Academy and show James Franco and Anne Hathaway how it's done.

In terms of nominations, Martin Scorsese's Hugo leads the way with 11 nominations, but I think the more prestigious categories may elude Marty this time around.

So here's my rundown of the main events -- these are purely my opinions so don't criticise or belittle me in any way, shape, or form.


Oh, and one one more note -- I haven't got around to seeing The Help yet -- nothing against them, I just haven't done it yet. Soon. Soon....


Best Picture

The Artist
The little black and white picture that has taken the world by storm. Is this film a serious contender? Yes, and not just because it features a strong yearning for a classical period of Hollywood. It's a great story, featuring strong performances, reminiscent of a golden era, and is smartly told, beautifully orchestrated, and never loses focus or interest. I'd encourage you all to see it -- dialogue is not necessary, and it's easily the best film of last year. Except for maybe Rango...

Chances of Winning?: Bang on the money.


The Descendants
Featuring the performance of Clooney's career, this little gem stands a real chance. Its complex subject matter is simplified through its recurring theme of family, and what that means to those involved. Everything is put firmly in place with effortless style and significance, and the movie hits the audience hard, tugs at their emotions and is a charmingly smart, funny, and heart-wrenching tale.

Chances of Winning?: Very good. Strong contender.


Extremely Loud And Incredibly Close
Again, this is my opinion, and clearly the Academy disagree with me. But this movie should not have been nominated. Yes, it has Tom Hanks, and it deals with 9/11 in some capacity, and therefore, feels like Oscar fodder, but it's rubbish. It's insanely dull, features an incredibly irritating protagonist, and doesn't seem to reach any discernible conclusion (for me) -- it's place should have been taken by Drive or even We Need To Talk Above Kevin. Both are superior in every aspect, and this film severely falters in comparison to the names it's listed with. And I hated that fucking tambourine. Still...Tom Hanks ftw.

Chances of Winning?: Lol.


The Help
My girlfriend thought it looked good. She didn't like Real Steel though...(or E.T.).








Hugo
Real movie magic. That's what Hugo has to offer. Created by a man with an obscene amount of love for the art, and featuring a story about the birth of cinema, it almost can't go wrong. Fortunately, Scorsese is well-equipped for his first foray into 3-D, and makes efficient use of the format, providing the audience with a world in which they are able to fully immerse themselves, and get lost, along with Hugo, in the intricate mazes of Scorsese's beautiful tale.

Chances of Winning?: Good. Perhaps in the shadows of The Artist/The Descendants.


Midnight In Paris
From one love letter to another. Midnight In Paris is a top return to form for Woody Allen who has noticeably struggled recently. He's back on path with this latest offering, a dainty and sweet depiction of Paris through the eyes of an American Romantic. It's a remarkable feel-good movie (even for someone like me, who bloody hates Paris) and will leave all with a smile on their face and a distant wish to visit the Eiffel Tower in the near future. Plus...Marion Cotillard.

Chances of Winning?: Very meh. Possible, but would be punching above its weight.


Moneyball
Penned by Aaron Sorkin, fresh off his 'Social Network' success, this film is snappy, succinct, and gripping. As traditionally expected with most sports films, it features an underdog tale, but like its main characters, it does it with style and an unexpected method, working with statistics rather than rousing music and last-gasp victories. Pitt proves his acting credentials once again for any of those niggling doubters, and the movie fully deserves its place among the best of last year.

Chances of Winning?: No, not really, but a great film nonetheless.


The Tree Of Life
Perhaps the most polarising film of last year. A traditional marmite situation; you either loved it, or you hated it. I, unfortunately, dislike it immensely. That's down to personal taste. What I can't deny though, is its beauty. It features some truly stunning shots and the 'creation of the universe' segment will grip you entirely. Brad Pitt, yes him again, is in top form, and the coming-of-age story is well told, paced, and intriguing. Sean Penn, however....

Chances of Winning?: Perhaps TOO polarising. It's a darkhorse.


War Horse
When people ask about Spielberg's greatest film, expect responses like 'Jurassic Park', 'Schindler's List', 'E.T.' -- timeless classics. Can I say the same for War Horse? Probably not. It has great beauty, and stunning shots (the full-on pelt through the trenches), but I don't think it has the winning formula employed so successfully by Spielberg on other films. It's slightly uneven at times, and ever so contrived, but it has emotion, a plethora of good performances, and all the foreigners have the decency to speak in English.

Chances of Winning?: Doubt it, but the Academy does love Spielberg.



Best Director

Woody Allen -- Midnight In Paris

Has whipped back into form with this latest picture, creating a world which worships culture seemingly with ease. Well constructed, and deftly directed, it's great to see him nominated again. He doesn't actually show up to the Oscars nowadays though, but will perhaps be coerced this year.

Chances of Winning?: I'd love to see him up there, but this won't be his second Directing win.


Michel Hazanavicius -- The Artist

Very little known about this guy before The Artist (at least for me anyway), but he's made himself known with this daringly creative picture. Stretching back the years, and channeling a forgotten era into modern day Hollywood, Hazanavicius has achieved something quite remarkable here.

Chances of Winning?: The Oscar is his.




Terrence Malick -- The Tree Of Life

I'm not great with Malick's movies -- I've seen two of them, and neither completely gripped me; but it's clear he has a strong affinity for cinema and the way it appears on screen. The sheer beauty of Tree Of Life may be interpreted as pretentious by some, but I don't think that's what he was going for, and his achievements with this film should be commended. It's the most beautifully visual film of last year.

Chances of Winning?: Unlikely, but remains a dark horse, akin to his movie.


Alexander Payne -- The Descendants

Payne is hardly a household name, but take a gander at his track record, and you'll realise how hugely talented this guy is. Following on from his successful Sideways, The Descendants is a remarkably ambitious film which is made to look effortless (in a good way) by the sheer skill which the director demonstrates in manipulating events so very delicately in order to tell his story. He's rewarded by a host of great performances, but he keeps the story tight and compact throughout and stands a real good chance of winning.

Chances of Winning?: Second favourite behind Hazanavicius.


Martin Scorsese -- Hugo

The winner of the Golden Globe for Best Directing, and easy to see why. One of the greatest movie directors in history, Scorsese creates a love letter to cinema in a similar vein to Hazanavicius, but blends old and new with his venture into 3-D. It has a wondrous effect, and it's a world unlike any other. It's a film which no one can really dislike, and an effort that may find more fans among the Academy than some of his grittier features.

Chances of Winning?: The dark horse.



Best Actor In A Leading Role

Demián Bichir for A Better Life as Carlos Galindo

I haven't seen all of A Better Life. Not that it was boring or anything, I just wasn't in the right frame of mind, and will get back to it ASAP. What I did see what quite captivating though -- and Bichir, popping so suddenly into our lives, has done well to put himself on the radar with a performance that oozes desperation. Though I don't know how it ends, he shows himself as a lowly immigrant gardener, struggling with American life, and does it with so much conviction, that I can imagine it was hard for the Academy to overlook him.

Chances of Winning?: No, Dujardin has this one.


George Clooney for The Descendants as Matt King

Guy's having a good year -- having recently made the transition from acting to directing, Clooney has also had a busy year, directing films like The Ides Of March. The Descendants sees him at his very best though, and conveying a host of emotions, he manages to juggle the aspects of drama and humour with relative easy, proving once again how talented an actor he is.

Chances of Winning?: Good. Probably a two-horse race between him and Dujardin.


Jean Dujardin for The Artist as George Valentin

Have you seen this guy off-camera? He's arguably the most charming bloke like EVER. He made a Benny Hill crack at the BAFTAs which was a hoot. Had the audience in the palm of his hands. It's almost a shame he wasn't born in the 1900s, because he is made for silent movies. He has a range of expressions and gestures, which are fittingly apt for silence. He also has an incredibly strong french accent, which is used to amusing effect towards the end (watch the movie). He channels figures such as Douglas Fairbanks in this performance, and it's refreshing to watch. There are no negatives in his performance.

Chances of Winning?: The favourite. Deservedly so.


Gary Oldman for Tinker Tailor Soldier Spy as George Smiley

It's pretty great to see Gary Oldman nominated for his first Oscar. It's long overdue, and though he won't win it, it's probably a great honour to have his marvelous work recognised by his peers. His work in Tinker Tailor is relatively simple it seems, but this is down to Oldman's precarious approach to the role, his effortless ease at moving around the camera, and essentially becoming one with the misty canvas (fuck knows what I'm talking about, but there's a real meaning in there somewhere) -- it's a brilliant performance in a brilliant film.

Chances of Winning?: Not much. But hooray for England.


Brad Pitt for Moneyball as Billy Beane

I hear a lot of crap about Brad Pitt from some people. In a nutshell, 'he's a pretty boy who can't act' seems to just about cover it. This is, of course, bullshit. Though he hasn't had a lot of success in winning awards outside the usual MTV Movie Awards arena, he's been nominated for an Oscar 3 times now, accompanied by a host of other big nominations. Whilst this won't be third time lucky, you just have to watch the film to see how he gives such a zest to the script, and brings the film to life in an entertaining way. I really enjoyed the film and its subject, and he deserves his nomination.

Chances of Winning?: Naaaah.



Best Actress In A Leading Role

Glenn Close for Albert Nobbs as Albert Nobbs

She plays a dude.

I hadn't heard anything about this movie until the Oscars. She won't win. But it's nice to see her nominated for a movie -- as far as I know, she's been playing around on TV shows for the last few years. Damages any good?

Chances of Winning?: Albert No.... (not my best)





Viola Davis for The Help as Aibileen Clark

She won the SAG award, which is usually a great indicator, so damn, I don't know. This category seems wide open. Although she was also in Extremely Loud...







Rooney Mara for The Girl with the Dragon Tattoo as Lisbeth Salander

Never have I seen an actress commit so much to a film role. Total transformation here. Forget Black Swan, this was quite a horrific turn from Rooney Mara, who was featured ever so slightly in Fincher's 'Social Network' in 2010. She doesn't 'make the film', because it works on so many levels, but she is captivating, unafraid, and really fuckin' odd. Mara gives it her all, and succeeds in every aspect. She is deserving of her nomination, and in the group she's in, I'd personally give her the award, but for some inane reason....I'm not in charge of Hollywood. One day...

Chances of Winning?: No. The Academy hates Fincher and goth sex...


Meryl Streep for The Iron Lady as Margaret Thatcher

Haven't seen the film. Have no intention of seeing it, so I shall instead talk about Meryl Streep in Sophie's Choice....

She was well good.

Chances of Winning?: Probably. Everyone loves her, and she's a mighty fine actress.




Michelle Williams for My Week with Marilyn as Marilyn Monroe

I wasn't exactly around at the time of Marilyn Monroe, but from what I've gathered, she was the kinda' woman that you fell in love with...just like 'that'. So, I assume Michelle Williams had quite a difficult job on her hands. But fuck it, I fell in love with her, so success in my book. What she does is exceedingly good; she portrays a Hollywood icon as an almost stereotype, but because it invokes such a strong sense of nostalgia, it works, and she's my choice of winner (even though I've said that twice...).

Chance of Winning?: I hope so.




Best Supporting Actor

Kenneth Branagh for My Week with Marilyn as Laurence Olivier

Acting royalty in this film. His job is to make his presence known and everything he does he does with sublime character. Again, I know little about Laurence Olivier, but I know a great performance when I see one, and it takes quite something to stand your own against Marilyn Monroe. Maybe not a winner this time, but yay for England again...

Chances of Winning?: Sadly not.




Jonah Hill for Moneyball as Peter Brand

Whilst I'm fully behind Brad Pitt's nomination, Jonah Hill's nod was a slight surprise. Not to say he's not deserving, because I think he was great. It's just the last time most people saw him in a movie, he was crudely declaring to Michael Cera his intentions of fucking Emma Stone. Now he's being nommed for Oscars. Good for him. His performance was great; he was ever so slightly awkward. A genius. He grew into his role well, and was never over-the-top or sentimentally mundane. G'wan, Jonah!

Chances of Winning?: He's going home empty-handed. Unless he turns up with a girlfriend/wife...


Nick Nolte for Warrior as Paddy Conlon

I think Warrior was an underrated film. If Extremely Loud... was nominated, then I'd like to think Warrior should have been too...

Well maybe not, but it was still a lot better. And Nick Nolte delivers a performance that only he could. A drunk, wreck of a man... -- that's harsh, he's trying to recover, but when he's pushed, he goes through a dramatic change and it really twangs at the heart-strings. It's an amazingly powerful movie and performance. Definitely worth watching, and well worthy of the nomination.

Chances of Winning?: Nah. This category has an easy winner.


Christopher Plummer for Beginners as Hal Fields

The easy winner. He's picked up all the awards so far, and for bloody good reason. He's incredibly funny as the gay elderly man, dying of cancer. It's a film that a lot of people haven't seen, but has a truly unique feel to it, so I implore y'all to see it. Christopher Plummer (who you should all know) has been around a while, but never won an Oscar. This will be his first time, and after throwing himself into the deep end in such an amusing, yet emotional way....well deserved.

Chances of Winning?: YEEEEESSSSSSS (Imagine Michael McIntyre screaming that)


Max von Sydow for Extremely Loud and Incredibly Close as The Renter
Urgh. I like this guy as an actor -- I think he's wonderfully...weird. But I can't get behind anything representing this movie. I think I don't like him because he genuinely thought it'd be a good idea to follow this kid around the city, even if he was his (SPOILER) grandfather. Blah blah blah.

Chances of Winning?: No. Albert Brooks should be here. GROSS MISCONDUCT.





Best Supporting Actress

Bérénice Bejo for The Artist as Peppy Miller

Similar to Dujardin, she carries a lot of charm and grace with her throughout the movie, and I don't really get why she's Best Supporting Actress when she was very much the main actress in the film...I think. Either way, she stands a real chance, as I don't think there was too much difference in performance levels between her and Dujardin. She is as beautiful as she is talented, and never looked out of depth.

Chances of Winning?: Very good, I reckon


Jessica Chastain for The Help as Celia Foote
Again. Haven't seen. YET.











Melissa McCarthy for Bridesmaids as Megan Price

Ha, what a great nomination. I'm surprised the Academy went with this as it doesn't seem their style. I guess it would have been prudent to award the year's funniest film in some way. Best Supporting Actress seemed a safe option, and so we have Melissa McCarthy. She got more laughs than Zach Galifiniakaiskis did in both Hangover films and was unashamedly brilliant. She won't win -- the Academy wouldn't let it get that far, but it's a testament to the film's popularity and success that she was nominated for a hilarious performance.

Chances of Winning?: I severely doubt it.


Janet McTeer for Albert Nobbs as Hubert Page

See Glenn Close.

Good for her though.

Chances of Winning?: Nope.





Octavia Spencer for The Help as Minny Jackson

The favourite in the category, and I back her to win it.









I'mma put the predicted winners in BOLD.




Best Writing -- Original

The Artist – Michel Hazanavicius
Bridesmaids – Kristen Wiig and Annie Mumolo
Margin Call – J.C. Chandor
Midnight in Paris – Woody Allen
A Separation – Asghar Farhadi

As nice as it would be to see Midnight In Paris pick this one up, The Artist will win. Those who complain that it doesn't have any dialogue need to learn a thing or two about scripts. It's not all about the dialogue (if you've seen Drive, you'll know that).


Best Writing -- Adapted

The Descendants – Alexander Payne, Nat Faxon, and Jim Rash from The Descendants by Kaui Hart Hemmings
Hugo – John Logan from The Invention of Hugo Cabret by Brian Selznick
The Ides of March – George Clooney, Grant Heslov, and Beau Willimon from Farragut North by Beau Willimon
Moneyball – Screenplay by Steven Zaillian and Aaron Sorkin; Story by Stan Chervin from Moneyball by Michael Lewis
Tinker Tailor Soldier Spy – Bridget O'Connor and Peter Straughan from Tinker, Tailor, Soldier, Spy by John le Carré

Christ -- any of them could pick this one up. I'm going for The Descendants because I think it's the most appealing of the lot, and probably the smartest.

Best Animated Feature

A Cat in Paris – Alain Gagnol and Jean-Loup Felicioli
Chico and Rita – Fernando Trueba and Javier Mariscal
Kung Fu Panda 2 – Jennifer Yuh Nelson
Puss in Boots – Chris Miller
Rango – Gore Verbinski

If Rango doesn't win, I'll pack up, move to Hollywood, and kick some serious Academy ass.

Best Foreign Language Film

Bullhead (Belgium) in Dutch and French – Michaël R. Roskam
Footnote (Israel) in Hebrew – Joseph Cedar
In Darkness (Poland) in Polish – Agnieszka Holland
Monsieur Lazhar (Canada) in French – Philippe Falardeau
A Separation (Iran) in Persian – Asghar Farhadi

People be loving it. Haven't seen it myself, but I will check it out soon-ish. Maybe you should too.


The other nominations are a mixed bag. Anything that sees fit to nominate Transformers 3 for an Award is barely worth thinking about. Expect Hugo to really ramp up the technical awards though.

For those interested, the Academy Awards will be on UK TV on Sunday night. Sky Premiere and E! Entertainment will be hosting.


Should be a good 'un.

Carnage -- Review

Carnage is perhaps a hyperbole. The implied connotations may give you different expectations of this movie, and not all of them will be met. It’s remarkable how so much damage can be inflicted through mere words, and this film explores that, accompanied by a quartet of bitingly sharp performances from its leads.

Though the movie takes place in a Manhattan apartment, it was in actual fact filmed in Paris, due to Roman Polanski’s inability to step foot in the USA. This has never prevented him from working with the best actors available, and making some of the greatest films of the last 50 years. Though his magnum opus remains Chinatown, made almost 40 years ago now, his work is as relevant today as it was back then.

The movie is a screen adaptation of Yasmina Reza’s play ‘God Of Carnage’. This is evident in the way Polanksi has bizarrely made use of space and time. With the exception of the opening and closing credits, the movie doesn’t stray from the apartment of Mr and Mrs Longstreet (John C. Reilly and Jodie Foster). Reluctantly joining them is upper-class couple, Mr and Mrs Cowan (Christophe Waltz and Kate Winslet). The reason for their occupying the same space is their children. Zachary, belonging to the Cowan’s, has smashed Ethan, belong to the Longstreet’s, around the face with a stick. The conversation flows politely in its early exchanges, a brief moment of silence here and there, or whenever Alan (Waltz) is ‘forced’ to remove himself and answer his incessantly-ringing cellphone.

The power here is how it develops. We open with a shady state of equilibrium; a state that has to smoothly cross into the realms of the eponymous carnage. This is orchestrated with masterful work from Polanski, giving his actors just that little bit extra to work with, deftly timing each event that takes place to occur precisely when it needs to. The running time of the movie is just over an hour, as is the on-screen narrative.

It’s a character study of considerable depth; at first, each of them displays signs of accustomed social conventions. Nancy (Winslet) feels inclined to enquire about the apartment she finds herself in, as well as the different displays of culture which Penelope (Foster) has laid out, primarily on her luxurious coffee table. Alan and Michael (C. Reilly) discuss their jobs, picking apart each other’s livelihood through polite, yet slightly strained dialogue, which is to lead someplace darker.

Bit by bit, shot by shot, Polanksi manipulates happenings to his will, sparks begin to fly, and tempers begin to flare. Put together by their children’s childish behaviour, the four parents exhibit their own infantine dispositions by hurling verbal put-downs at each other. They belittle, they snarl, they vomit, they drink, they scoff, they drink more, they sob, they turn on their own spouses, they drink even more, they smoke. It doesn’t ever reach what I would call ‘carnage’, but it certainly inhabits a space nearby.

As you’d expect, the script is solid enough to keep an audience satisfied for 70minutes, but the four actors, Winslet and Foster in particular, exude unmatched ability in being able to distort themselves over and over again, finely treading, but never crossing, the line between radical depiction and parody. They are all cynics, expecting next to nothing from their opponents; they won’t budge on their opinions, and a considerable amount of care is put into the way they act within the different circumstances Polanksi throws their way. It’s a refreshingly honest piece of work, but not funny enough to be considered comedy. It’s a movie worth watching, but don’t expect to be enlightened, amused, or entertained. This is a movie about character; it’s peculiar and comes off with an odd taste, but it’s impeccably acted, and masterfully directed.

Golden Globes 2012

It's that time of year again. The Golden Globes are one of the more prestigious awards events, hosted by the Hollywood Foreign Press Association, and is an event that rewards outstanding achievement in film and television. After the Oscars, and the Grammy awards, the ceremony is generally considered to be the 3rd most watched awards show in the world, hinting at its significance for those within the 'biz.

For some, it is a 'watered-down' version of the Oscars, which are due to take place at the end of next month, but I'd disagree with that sentiment, and maintain that the Golden Globes does have its merit. It's not a clear indicator of who is going to take home the gong next month, and should not be considered an Oscar warm-up in any shape or form. Its method of splitting film into two categories (Drama and Musical/Comedy) gives a greater opportunity for brilliant yet understated films to recieve some form of awards recognition.

It's not without a little controversy, however. Giving praise to the little man is an admirable trait, but nominating 'The Tourist' (as it did last year) seemed slightly out of the blue, considering the film had been critically condemned, and performed below-par at the US box office.

And then there's Ricky...

For a third consecutive stint, Ricky Gervais is returning to host the awards. Generating more controversy than any of his stand-up gigs combined, many thought that he'd finally severed the bond between himself and the HFPA, yet here he is again, and when it was announced, you could probably feel Hollywood's butt clench with the anxiety of having the British comedian return once more, utterly packed with witty anecdotes, biting remarks and I'm sure, one or two new Charlie Sheen-based zingers.

Anyway, on to the nominations.

Film

Best Motion Picture -- Drama
The Descendants
The Help
Hugo
The Ides Of March
Moneyball
War Horse

Again, you can never be sure with the Globes, and though I'm yet to see 2 of these films, I'm going to go with the general buzz and predict The Descendants to come out on top of an otherwise impressive looking group of films.



Best Motion Picture -- Musical/Comedy
50/50
The Artist
Bridesmaids
Midnight In Paris
My Week With Marilyn

Again, some heavyweights here; Bridesmaids was the smash hit, and could, like The Hangover did, shock some and take home the gong. Woody Allen's best film in years, Midnight In Paris, will be a definite contender, but I don't think I can look past The Artist in this group. I'm positive it'll win.



Best Male Performance -- Drama
George Clooney -- The Descendants
Leonardo DiCaprio -- J. Edgar
Michael Fassbender -- Shame
Ryan Gosling -- The Ides Of March
Brad Pitt -- Moneyball

Arguably, the top 5 male stars in Hollywood at the current moment in time -- and an incredibly close knit race. Gosling has had a terrific year, as has Pitt, both starring in at least 2 critically acclaimed hits. Fassbender continues to cement his A-list status, whilst DiCaprio is as popular as ever. However, Clooney will win here.



Best Female Performance -- Drama
Glenn Close -- Albert Nobbs
Viola Davis -- The Help
Rooney Mara -- The Girl With The Dragon Tattoo
Meryl Streep -- The Iron Lady
Tilda Swinton -- We Need To Talk About Kevin

This one, I'm less sure about than any of the others. Again, cases can be made for each of them, and it's anyone's guess who's going to bag it, but going with the buzz, I'd have to pick Davis after she secured the Critics' award.



Best Male Performance -- Musical/Comedy
Jean Dujardin -- The Artist
Brendan Gleeson -- The Guard
Joseph Gordon-Levitt -- 50/50
Ryan Gosling -- Crazy, Stupid, Love
Owen Wilson -- Midnight In Paris

Withstanding any major shocks, Jean Dujardin has this in the bag.



Best Female Performance -- Musical/Comedy
Jodie Foster -- Carnage
Charlize Theron -- Young Adult
Kristen Wiig -- Bridesmaids
Michelle Williams -- My Week With Marilyn
Kate Winslet -- Carnage

Wiig surprised many in Bridesmaids, and was the driving force behind its success, I have no doubt. But I don't think she did enough to put off Hollywood's darling, Marilyn Monroe, aka Michelle Williams.



Supporting Actor
Kenneth Branagh -- My Week With Marilyn
Albert Brooks -- Drive
Jonah Hill -- Moneyball
Viggo Mortenson -- A Dangerous Method
Christopher Plummer -- Beginners

Split between three here, but do you remember Marlin from Finding Nemo? Do you remember Ross Cargill from The Simpsons Movie? Well, imagine the guy behind those playful voices as a psychotic mafia boss. Albert Brooks to win this one.



Supporting Actress
Bérénice Bejo - The Artist
Jessica Chastain - The Help
Janet McTeer - Albert Nobbs
Octavia Spencer - The Help
Shailene Woodley - The Descendants

My rule regarding The Artist didn't last long. This isn't a category I admit to being an expert in, but expect Shailene Woodley to garner some praise here.



Best Director
Woody Allen - Midnight in Paris
George Clooney - The Ides of March
Michel Hazanavicius - The Artist
Alexander Payne - The Descendants
Martin Scorsese - Hugo

Personally, I'd like to see Allen or Scorsese take this one home, but I believe it's a two horse race between Payne and Hazanavicius, and whilst I have a niggling feeling that Payne will win the Oscar, expect this to go to Hazanavicius.



Best Screenplay
Woody Allen - Midnight in Paris
George Clooney, Grant Heslov & Beau Willimon - The Ides of March
Michel Hazanavicius - The Artist
Alexander Payne, Nat Faxon & Jim Rash - The Descendants
Steven Zaillian & Aaron Sorkin - Moneyball

Take my rule about The Artist, and apply it to The Descendants as well, because Payne, Faxon and Rash (Dean Pelton from Community) have this in the bag, for me.



Best Animated Feature
The Adventures of Tintin
Arthur Christmas
Cars 2
Puss in Boots
Rango

Rango. Rango, Rango, Rango, Rango. RANGO...maybe Tintin.



Television

Best Series -- Drama
American Horror Story
Boardwalk Empire
Boss
Game of Thrones
Homeland

Ruling out the good, but severely overrated Game Of Thrones, and the perhaps slightly extreme American Horror Story, we're left with three. Boss, I know little about, but sense it's more about Kelsey Grammar's performance. Boardwalk Empire is always a safe bet, but I think the emergence of Homeland is something to be reckoned with this year.



Best Series -- Comedy
Enlightened
Episodes
Glee
Modern Family
New Girl

I love Zooey Deschanel, but New Girl is her vehicle, and only works because people want to see Zooey Deschanel. It's amusing at times, and she is a gifted comedy actress, but it doesn't hold up against Modern Family, which will deservedly win again. And again. And again...



Best Actor -- Drama
Steve Buscemi – Boardwalk Empire
Bryan Cranston – Breaking Bad
Kelsey Grammer – Boss
Jeremy Irons – The Borgias
Damian Lewis – Homeland

I've always rated Damian Lewis as an actor, and he undeniably rocks on Homeland, but this award may as well be called the 'As Long As Breaking Bad Is Airing, Bryan Cranston Has This In The Bag' award. I'd still expect Lewis to be nominated though. NOTE: Buscemi won it last year, but Breaking Bad has had its best season to date (which is saying a lot considering it's unmatched quality).



Best Actress -- Drama
Claire Danes – Homeland
Mireille Enos – The Killing
Julianna Margulies – The Good Wife
Madeleine Stowe – Revenge
Callie Thorne – Necessary Roughness

See above. Replace Lewis with Danes, and Cranston with Margulies.



Best Actor -- Music/Comedy
Alec Baldwin – 30 Rock as Jack Donaghy
David Duchovny – Californication as Hank Moody
Johnny Galecki – The Big Bang Theory as Leonard Hofstadter
Thomas Jane – Hung as Ray Drecker
Matt LeBlanc – Episodes as Matt LeBlanc

How they keep nominating Galecki for awards over co-star Kunal Nayyer is beyond me. Either way, I'd be surprised if he won, and am going to have to credit Matt LeBlanc with this one. It's been too long.



Best Actress -- Music/Comedy
Laura Dern - Enlightened
Zooey Deschanel - New Girl
Tina Fey - 30 Rock
Laura Linney - The Big C
Amy Poehler - Parks and Recreation

Not a clue. Zooey Deschanel would be my stab in the dark, considering she's universally adored.




The Golden Globes air tonight, January 15th. For those in the UK, I believe they're showing the Red Carpet and Ceremony on E! Entertainment. If you don't have it, I suggest you google or twitter a stream (if you're desperate).

The Girl With The Dragon Tattoo -- Evil Shall With Evil Be Expelled.

I'd argue that with the canvas a bleak and dreary shade of grey, David Fincher produces his best work (I'm of course talking about the brilliant 'Se7en' and the unnerving 'Zodiac'), yet his 2010 Oscar-darling, 'The Social Network' remains a stumbling block in this ill-conceived theory. 'The Girl With The Dragon Tattoo' doesn't quite step up to the formidable bar set by the tale of Mark Zuckerberg and his nifty invention, but what it does do, it does intensely well. Based on Stieg Larsson's best-selling 'Millennium' trilogy, and the subsequent Swedish movies, Fincher is efficiently able to give the story a classy polish, and really ramp it up a notch. It's brutal and unyielding and all the more better for it.

I'm unfamiliar with the literature, but the plot within is fairly 'police-procedural' -- Daniel Craig is Mikael Blomkvist, a disgraced journalist, reeling from the loss of a court case with a high-ranking Swedish businessman. This is essential to the plot as it gives Blomvist an excuse to vanish, escape the accusatory leers of those around him. Enter Henrik Vanger (Christopher Plummer, Captain von Trapp to many of you), retired CEO and the patriarchal figure in a dizzying family line-up. 40 years ago, his niece, Harriet, disappeared in mysterious circumstances from their family island, separated from the mainland by a single bridge. The murderer is a member of this excessive Vanger family which mirrors a who's who of sinister human beings (Nazis, some of them). Eroded by obsession, Henrik's mind is no longer lucid enough to continue his half-baked investigation. He knows all about Mikael, having had emo/goth hacker extraordinaire Lisbeth Salander pick apart every aspect of Blomkvist's life, gaining enough insight to know that despite his recent losses, he is 'clean'. Mikael takes up the offer, and delves deep into the murky past of the Vanger family, interviewing them one by one, uncovering their sordid past, and teaming up with Salander along the way.

There are many different narratives at work in this piece. The Vanger investigation features prominently, but there is nothing particularly fresh here. Fincher choreographs each scene with deft precision, using lighting and sound to sublime effect. It's incredibly eerie, the steep snowy hillsides shrouded in a dark mist, that is representative of the family that occupies the houses on top of the hills. No one speaks to one another, and when they do, it is harsh and enigmatic -- Mikael will have to keep digging. Yet, what brought life to the original, directed by Niels Arden Oplev, was the inclusion of Salander's character, portrayed then by Noomi Rapace, and portrayed here by Rooney Mara.

The girl with the dragon tattoo. Emblazoned on her back, spread carefully along her taut, pale skin. A ward of the state, she has been thoroughly rejected from every orifice of life. Yet, she is resilient, fiercely intelligent, and astonishingly strong. Mentally and physically. Rapace's depiction was of a woman beaten down, but determined to pull through, and come out the other end. She hid away behind her 'colourless' features, whilst Mara holds back no punches. Here is an actress that has gone all out, total role commitment, 100% -- she's extraordinary and steals every scene she's in. Doesn't matter if you're James Bond.

As with 'The Social Network', NIN frontman, Trent Reznor is back (with Atticus Ross) behind the film's soundtrack, and I fully expect him to receive another Oscar nod for a score which becomes a secondary character throughout the movie. You may not notice it, but alone on those dark, dank slopes...keep an ear out. Low at times, thumping at others, it aptly supplies the tense thrills Fincher is looking for, and Reznor's upgrade of Zeppelin's 'Immigrant Song', with lyrics provided by Karen O (from the Yeah Yeah Yeahs), is astonishing. The opening credit segment is truly stunning. A plethora of dark metallic figures, whirling around in a bath of hauntingly beautiful sequences, pumped by the incessant chords of 'Immigrant Song', and Karen O's resounding wails.

The film is better than its Swedish counterpart; an assured director at the helm, it is able to tighten up the narrative and complete the jigsaw. I read that the last segment is actually the epilogue of the first novel, and though it is barely touched upon in the 2009 Swedish film, Fincher devotes time to incorporating it into his picture, and flesh his characters out further. The final shot threatens to throw the film wide open, begin a new chapter in Lisbeth's life. Just as, for once, she might be able to explore a new happily ever after, Fincher slams the book shut firmly, right in her face, and I hope he returns for the second film. A master at work here.

The 10 Best Films Of 2011 (...that i've seen)

At first, I think to myself that, in comparison with 2010, 2011 has not been a great year for films...

And then I think about the films I have yet to see, and the films that I have struggled to put into my top 10 and I realise that perhaps there is something there. Perhaps 2010 had 10 absolutely brilliant movies that 2011 has not matched, but maybe 2011 has 20 or so absolutely great movies. It's subjective for sure, but looking back on the year, the majority of decent movies seemed to have come out in the latter half (as always, with Award's season now in full swing).

I have not seen 'The Artist' (a French, silent, black and white film starring John Goodman...), I haven't seen 'Take Shelter' (I'm sure it will...blow me away :|), I haven't seen 'Melancholia' (I don't get Lars Von Trier, and never will), I've seen no freshly painted dragon tattoo, nor have I witnessed any wars ft. horses and I haven't seen any Iranian films this year. I have, however, seen over 150 new films this year (new to me, not necessarily new this year), so I reckon I could compile a satisfactory list.

But first, let us get some Honorable and Dishonorable Mentions out the way -- 'cause everyone loves to know who could have made the cut, but sadly, fell at the last hurdle.


Dishonorable Mentions

1. Battle: Los Angeles
Promised so much. Gave so little. Aliens attacking are cool, we've established this -- but we actually have to relate to the characters in this situation otherwise why the hell should we care about the Earth being destroyed?

2. Anything Green
'Green Hornet' -- 'Green Lantern' -- in serious competition to find out which one was the most boring.

3. Transformers: Dark Of The Moon
As far as 'storytelling' goes, Michael Bay is quite hopeless. I admire the way he takes on such ambitious visuals though, even if occasionally, no one has any idea what's going on as the robots look just like the buildings they incessantly smash in and out of.

4. The Hangover, Part 2
Might as well just have watched the first again on mute. No laughter. No difference. Yawn.




Honorable Mentions

1. Warrior
You can draw all the comparisons you want to -- 'Rocky' 'The Fighter' 'The Wrestler' -- it's predictable. You can guess what's going to happen a long time before it does, but I'll be damned if it wasn't the most riveting film I saw all year. Gripping, powerful, violent -- a stunning film full of stunning performances and well worth a watch.

2. Source Code
For a while, this was my highest rated film of the year -- I couldn't find much wrong with it. Sure, you can ask questions about the dead body/brain device, but it's such a touching movie that it's almost rendered as a superfluous sidenote. Once again, just like 'Moon', Duncan Jones manages to find the human drama within his ambitious concept and brings it to the forefront through great turns by stars Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga.

3. Super 8
There's a scene in this movie (if you've seen it, you'll know which one it is) where I got chills. As wonderful as it was, it didn't balance the two elements of 'coming of age' and 'sci-fi' as successfully as I'd hoped. JJ is a great director, but perhaps he needs one or two more viewings of E.T. Either way, it's dazzling, ambitious and fun.

4. Hanna
I don't know what it's like to be a child actor, but Saoirse Ronan seems to have got the hang of it -- she's pretty damn good as a child assassin and though this movie can reach high levels of violence, there's a good hearty story at the core, and is constructed with deft hands by director, Joe Wright.

5. The Tree Of Life
This is a film that will probably be included on those '100 Movies To Watch Before You Die' lists -- it's unbelievably beautiful, as well as unbelievably pretentious. There was so much depth and meaning to it, not that I had the foggiest what that meaning was, but I knew it was there. A lot of it was unneeded, Sean Penn in particular, but the 'creation' scenes are so well done, and so alluring, that they really must be seen. A contemporary equivalent to '2001: ASO'.



TOP 10

10. Rango
"Now, we ride."

Rango was the movie I wasn't expecting. I'm not a huge Gore Verbinksi fan, and though my oddly inappropriate man-crush on Johnny Depp is still ever-present, I didn't have high hopes. What I discovered, was that this movie is one of those unappreciated gems which has humour and heart throughout. Not once did it fail to make me laugh, and not only are the visuals superb to look at it, but there's a real sense of hard work in trying to distinguish itself as a type of animation you haven't seen a lot of before. The vocals are lively, creative and all types of fun -- the story is strangely political, yet if you can overcome the first 10 minutes (which introduces Rango as a lizard in existential crisis), it pays off big time.



9. Beginners
"I don't want to just be theoretically gay. I want to do something about it."

Beginners is about a dying gay man. It's about the gay man's son dealing with his father's death. It's about the dying gay man's son's new girlfriend adapting to her new relationship. All at the same time. It takes advantage of the seemingly trendy 'non-linear' narrative and tells all the stories at once. It does it effectively, not once getting confused as to where it is. It's a real story, it's poignant, it's lovely, it's sad, it's funny. It features three performances from Christopher Plummer, Ewan McGregor and Melanie Laurent which propel it forward and it never once crosses the line with its sentimental wanderings. It's about love and loss, but it's never as simple as that. Thinking back over it, it never ceases to tell the story, never feels burdened by its subject, and comes out shining. A beautiful film that everyone should watch.



8. Submarine
"My mother is worried I have mental problems. I found a book about teenage paranoid delusions during a routine search of my parents' bedroom."

This film is directed by Richard Ayoade -- most will know of him from 'The IT Crowd'. He's making waves, that's for sure. Last year, he also directed an episode of the US sitcom 'Community' (this has no relevance to the film, but I just found out and thought it was interesting) -- this is one of those films that someone like me would love to have written. It's positively brimming with creativity and tells the story in an incredibly truthful manner which is hard to watch at times. There is no outside world nor is there going to be a brighter tomorrow. The hero won't ride off into the sunset with the girl nestled comfortably in his arms, because the real world isn't like that. This movie portrays that depressing truth, but it's so uplifting, that it hits home that much harder.



7. Tinker Tailor Soldier Spy
"All I want from you is one codename: Tinker, Tailor, Soldier..."

A movie that won't be for everyone. It's bloody difficult to follow. It's a spy movie without any large explosions, gadgets or jaw-dropping locations. It's made up of old men, chomping on cigars and pipes, covered in heavy drench coats, slinking through shadows in a very mundane, wet, and smokey London. It's all about the look and feel -- paranoia is at an all time high and like the movie characters, the audience is never quite sure who to trust. Everyone has a past, everyone has a secret. Little by little, more is peeled away until everything is revealed, not with a bang, but with a whimper. And that's how it fully intends it to be. This is a movie that is a true movie. It's created by a master of the art, and each member of the cast supplies their roles with a subtle, melancholic twist. There is a corruption within all of them, a darkness that manifests itself on the very streets they walk. Many of its audience won't appreciate it, but I put it on my list, and I'm sure the cast and crew are very happy to hear that...



6. 50/50
"No one wants to fuck me. I look like Voldemort."

A movie that could have gone so wrong. A comedy about cancer. Luckily, it gets it spot on, focusing the comedy on the situation in a way that never seems like its mocking the illness, but more about trying to improve the situation. An 'Every Cloud Has A Silver Lining' deal -- sure, the protagonist, Adam, is going to question everyone around him, there are going to be times where he is going to be at rock bottom -- he still has cancer -- but there's always hope, dished out by his supporting cast, consisting of his best friend, therapist, and mother. It navigates through the tricky pitfalls of the topic with careful hands, holds a lot of depth, and gives out enough to reassure even the most pessimistic of us out there.



5. Midnight In Paris
"That Paris exists and anyone could choose to live anywhere else in the world will always be a mystery to me."

I don't like Paris. I'm not a fan of the culture. Owen Wilson, in this film, certainly is. By the end, I am too. Life isn't a movie though, but its ability to take you somewhere else, to influence you in various ways is quite special. This is a beautiful movie, with a magical element that has graced some of Allen's films in the past, but feels refreshingly new here. It's got his usual knack for linking different characters through different means, and exploring relationships, but his journey into a different period of time opens up a whole new door of adventures and possibilities. It's good to follow a character like Gil (Wilson) who doesn't question his surroundings or how he came to be there, but accepts it. It makes it that much easier for us to do the same thing.



4. Harry Potter And The Deathly Hallows, Part 2.
"Come on, Tom...let's finish this the way we started it. Together!"

The adventure ends. Though the ending was rather abrupt (no one asked about Voldemort...), I sort of appreciate the way they chose not to sugar the moment in sickly sentimentality -- however, they've not wasted a moment in previous films, so why feel the need now. Either way, the ending was a success. The actors have all come so far, learnt so much, and it all came together one last time. Visually, it was stunning. Absolutely stunning. I saw it at the BFI IMAX, and impressed is an understatement. The world of Harry Potter was brought to life in so many different ways over the last few years, and this one last effort brought it all together with a pretty pink bow -- magical. PUN INTENDED.



3. Hugo
"If you ever wonder where your dreams come from, look around: this is where they're made."

If you ever wanted to know anything about Martin Scorsese, know this. The dude loves movies. Adores them. Naturally, you'd think most film-makers have an affinity for the cinema, but with Scorsese, it's a way of life. He's one of the greatest directors in film history and this film is his love letter to the art he admires so much. I very much imagine that Hugo's relationship with movies mirrors his own. The scenes where the children watch movies such as Harold Lloyd's 'Safety Last!' and Melies' 'A Journey To The Moon' hold a lot of meaning. This is classical cinema at its very best -- jam packed with references that will mean something to more than just film-buffs, it's a way of promoting cinema. How many people dismiss film as pointless, something that doesn't matter when it comes to the sciences, and maths and y'know...other boring things (boring, but important -- don't argue). There are infinite reasons why people flock to the cinema -- your dreams can literally come alive, and you can join a world like Hugo. Visually, it's just as magical as the world of Harry Potter, if not more so. I didn't see it in 3D because I don't think I need to, but it's one of the few that I would suggest you see in 3D as if anyone can get it right, it's Scorsese.



2. Moneyball
"How can you not get romantic about baseball?"

I don't know a lot about baseball. I know less about maths. Yet this movie, which features both prominently, is 2nd on my list. That says everything. I don't like baseball. I like maths even less. What I do like, and admire, is persistence. I like the underdog story. It's a common theme in sports films, but when it's based on a true story, that aspect of authenticity really elevates the movie in my eyes. Take a character like the protagonist, Billy Beane, general manager of Oakland A's, a small baseball team in a larger pond, and his insistence on using a stats based method of assembling a wining team, and it works. Why? Because Brad Pitt is an incredibly gifted actor (you may not like him, but it's true) and his emotional need, his endeavor makes the film for me. You want to believe in someone, you want to believe that this man knows what he's doing -- that this team WILL win the World Series, and he exerts that confidence. Not once do you doubt the man. There is no time for sentiment, it's quick, sharp and Aaron Sorkin's script is as good as his recent Oscar winning effort with 'The Social Network' -- fantastic film.



1. Drive
"If I drive for you, you give me a time and a place. I give you a five-minute window, anything happens in that five minutes and I'm yours no matter what. I don't sit in while you're running it down; I don't carry a gun... I drive."

What a great year for Ryan Gosling. I've never seen 'The Notebook', but I imagine he'd rather be known for his role in Refn's stunningly disturbing tale of a stunt driver, who moonlights as a getaway driver under cover of darkness, and gets caught up in some rather nasty business. It's the most powerful movie I've seen this year, and it features a protagonist who utters about 20 lines throughout the entire movie. It's power isn't in the dialogue (there isn't a lot), it's in the actions, the music, the slow build of tension, the release, the trigger, the violence -- everything about it multiplies in unison, contributing to something larger and effective. None of the scenes are simply shot, yet that's exactly what they are. What I mean by this is that every scene is effortless. It's so easy to watch, it runs as serenely as the protagonist does in his own vehicle, yet each scene holds so much -- a 'blink and you miss it' deal. It is filmed in a style reminiscent of an earlier noir period, yet it's blend of violence and striking imagery correlates with a modern world awareness and desensitization of cinema violence. I consider it a masterpiece, and the best movie I've seen this year.

50/50

50/50 is a very real film about very real people; somewhat of an aberration from Seth Rogen's usual collection. The key ingredient in unlocking success is to finely sift the humour (generated primarily by Rogen) into the tragic story of Adam Lerner (Joseph Gordon-Levitt), a 27yr old radio writer discovering that those niggling back pains he's been experiencing for the past couple of weeks are actually the work of a malignant tumour, the name of which he initially has trouble in pronouncing (the more syllables, the worse it is). For the most part, I proclaim it a success -- it never strays too far into either territory and plays efficiently on the audience's emotions. You'll laugh, you'll cry, and you probably won't realise this is based on the true story of Will Reiser (the film's writer and friend of Rogen).

Rogen occupies the role of Adam's best friend, Kyle. This is the role he played in Reiser's real ordeal and here we see something genuine from Rogen, in contrast to his high-profile turns in 'The Pineapple Express', 'Superbad', 'Knocked Up' and to some degree, his highly underrated performance in 'Observe and Report'. Here, he is genuine -- a person we could come across in our everyday lives, and probably an accurate representation of what Rogen may be like off camera (but a tad Hollywood-ised).

The script takes a few liberties (I'd imagine) in order to make good on the 'never stray too far' deal; the story doesn't represent the repercussions and frailties that such a crippling ailment can generate, but it's not about that anyway. In essence, it's a feel-good movie about a man who did survive, and his tale isn't told to turn cancer into something to be laughed at, but to depict the experience that he and, unfortunately, many others are forced to live through, and to show how it can be dealt with through the support and love of family and friends. Some are able to cope, highlighted by Adam's mother (a smothering, yet sweet performance by Anjelica Huston), whilst others, like his girlfriend, Rachel (Bryce Dallas Howard) find themselves breathless, strapped into a corner, unable to break free.

Distilled as it may be, it's engrossing to watch how each character reacts to the news. The director, Jonathan Levine, has an easy job, allowing his adept cast to lead the way. Gordon-Levitt emobodies all the aspects of lost childhood; baby-faced, innocent and sullen, he's in fine form (as always) here. The support, Huston, Rogen, Dallas Howard and Anna Kendrick (playing Katie, Adam's young, inexperienced therapist) all play their parts, dot their i's and cross their t's. Yet, two performances stand out above all (bar Rogen perhaps), those of experienced actors Matt Frewer and Phillip Baker Hall playing Mitch and Alan respectively, two elderly patients suffering chemo alongside Adam. Both are small parts, but hold a lot of meaning. 80 years young, both convey the most positive aspects of Adam's journey. Getting high on weed-stuffed macaroons, tossing their ailments about as mere jokes, it was an oddly light part of the movie, when in contrast, the tone would darken when the jovial conversation landed on the whereabouts and support of Rachel (y'know, his girlfriend...)

It's a film that is worth watching because it evokes a strong sense of faith, survival and support in times of crisis. It is kept commercially viable but this doesn't hinder its powerful final act. It won't make many ripples in the Hollywood pond, but it'll be a film that you'll be glad you saw, whether it be for the talented cast, the subtle humour, the heart-wrenching story, or for Joseph Gordon Levitt's Voldermort hair-do (or lack of...).