Avatar

A visual orgasm for the sci-fi fan, Avatar is so much more than just a film; it is the journey into pure imagination that was attempted by George Lucas and Peter Jackson (no disrespect). Cameron blends reality with state of the art computer generated animation seamlessly, and with the help of 3D cameras, it is a truly epic journey.

Where to begin? A film of this magnitude will have unreasonable expectations, and will certainly draw criticism for minor aspects that could have been improved upon, but you have to give Cameron credit for following his vision from beginning to end without succumbing to critical pressure or corporate direction. The fact of the matter is that this film is over 15 years in the making. Over $200 million spent. It is the next film in a long line of successes from one the greatest big budget directors of all time.

Avatar takes place on a planet in the not too distant future called Pandora. It is the site of a mining operation of a precious mineral that is the only hope for the future survival of Earth. The planet itself is inhabited by various alien plant and animal life, and the introduction of these species comprise the first chapter of the film. Jake Sully (Worthington) plays a marine recruited to join the Avatar program which is a scientific endeavor using genetic replication to infiltrate the indigenous population called the Na'vi. Pretty outlandish, but Cameron doesn't waste too much time with the scientific details of the program. In fact, he downplays that angle quite a bit, simply getting to the meat of the film.

The second chapter brings us up to speed, learning the Na'vi way and exploring their world. It is a love story at heart, appealing to the Titanic crowd, and although reminiscent of Dances with Wolves and many other films where the outsider becomes one of the tribe, it has a distinctly original feel. The overtones of corporate greed, moral judgment, and environmental impact are heavy in this film, as this beautiful world is portrayed as a kind of Gaia theory, where life is all precious, balanced and intertwined.

The third chapter is what will attract the Aliens and Terminator 2 crowd. Action. War. The fundamental struggle between good and evil, with nature caught in the middle. Colonel Quaritch, played by Stephen Lang is the perfectly cast antagonist. He is a warmonger, but one who is rational and calculated. Cameron has a penchant for casting great supporting players, and Lang is a stellar choice for a film that honestly doesn't need any renowned actors at all. The rest of the cast doesn't matter as there is a magical aura to this experience.

Let's get to the gritty. the technical execution of this film is unlike anything I've ever seen. I had to continually remind myself that this wasn't real, and with the 3D camera, the visuals were stunning, remarkable, unbelievable and near flawless. Colors I have never seen before jumped off the screen. Moments of action sent bullets or rockets flying past my head, subtle burning embers fell around me, and the camera flew through the skies nearly causing vertigo.

This is hands down the best film of the year, well worth the anticipation and wait. It deserves Best Picture and Best Director on the basis of ambition and dedication alone. Much in the way Return of the King served as the catalyst for Peter Jackson's reward for his work, Avatar will reap major awards this year. Technically, from the visual effects to sound editing, and the balanced and emotional score, it will sweep as well.

This film is a must-see with something for everyone. Impressed by the world of Pandora, I was equally entertained by the battle sequences. There is clearly room for a sequel or two, and I think Cameron has the drive and the vision. The only question is if audiences will appreciate the artistic achievement. I certainly did, and despite some of the detractors, this film is absolutely excellent.

If you have a chance, see it in 3D and IMAX, if not, the 3D is a must. I am going to see it again tomorrow, the imprint of the world of Pandora is something that will stick for some time. It will be a travesty if it is not respected for its cinematic brilliance. 10/10.

Golden Globe Nominations

The nominations are in, and as expected, there are many that you would expect, and some that are out of left field. Even more interesting (and probably not surprising) there are undeserved nominations and even some snubs from this year's somewhat unremarkable lineup of films.

Because of the shift to 10 best picture nominees for the Academy Awards, the Golden Globes, which are routinely a warm-up with more basic categories and ultimately awards distributed, seems considerably more important in the prediction and dissemination of the big awards. That said, here is my prognostication for the early awards.

Best Picture, Drama - Avatar. The Cameron titanic will henceforth be known as his crowning achievement. It is the Lord of the Rings trilogy rolled into a revolutionary film making style that will usher in the 21st century a few years too late. Although two sequels are already planned, this is what will solidify lifetime achievement awards for Cameron. This is what the Phantom Menace was supposed to be. Prepare to be blown away. I have my tickets, you'd better get yours. Once released, the hype will confirm and the fans will flock. I boldly predict global box office domination well into March. This is guaranteed top 5 grossing films of all time, possibly giving Titanic a run for its money.

Best Picture, Musical or Comedy - The Hangover. Spot on casting and sharp writing, the Hangover is a modern comedy classic for the ages in the league of Caddyshack, Animal House, and Ghostbusters (Harold Ramis, anyone?). Nine is riding on the coat-tails of Chicago, and although the cast is impressive and Day-Lewis will carry it to success, both critically and financially, it won't be enough to match the brilliance of the Hangover. Piece of advice: even better the 2nd time around.

Best Director - James Cameron. No other film maker this year has put more of his heart, soul, and vision into an epic film. This shouldn't even be a contest, although I do concur with 4 of the nominations (although I haven't seen Precious yet). I am glad Tarantino is getting credit for his bold move with Inglourious Basterds.

Best Actor, Drama - George Clooney. Up in the Air. I like the Jeff Bridges buzz, he is an under-appreciated talent, but I see his role too similar to Rourke's the Wrestler last year. Clooney is in a higher profile film, and honestly, his performance was as good as Michael Clayton, and with the limited competition this year, he will win.

Best Actor, Comedy or Musical - Matt Damon. the Informant. His performance made this film what it was (no disrespect to Soderbergh). The weight gain, goofy mustache, and arrogant, yet ignorant character combined with a hilarious true story will give him the award that he most certainly deserves. Daniel Day-Lewis will come in a close second, and will probably earn an Oscar nomination while Damon will receive one for Invictus (see Winslet, 2009 - she was better in Revolutionary Road than the Reader, and won a supporting Golden Globe for the same movie she eventually won the Best Actress Oscar for).

Best Actress, Drama - Gabourey Sidibe. Precious. She stands out as the most visceral performance of the group. The role must have been gut-wrenching to play, and the competition is not of the highest caliber that it has been in years past.

Best Actress, Musical or Comedy - Meryl Streep. Julie and Julia. With 40% of the nominations in this category, Streep is the odds on favorite. As the greatest and most accomplished actress in the history of film, she improves her odds. Expect similar results at the Oscars.

Best Supporting Actor - Christoph Waltz. Inglourious Basterds. Nevermind that he speaks four languages throughout the course of the film. He is a riveting and almost respectable Nazi Colonel dubbed "Jew Hunter" yet he manages to stand out as the star. Great movie - even better the second time around. Waltz is mesmerizing.

Best Supporting Actress - Anna Kendrick. Up in the Air. Better than Farminga, and Up in the Air is the most impressively acted film of the year. Maybe I'm biased because I don't like Julianne Moore or Penelope Cruz. Mo'Nique is the other option, and I don't think Precious will sweep the female awards.

Best Screenplay - Quentin Tarantino. Inglourious Basterds. His best since Pulp Fiction, and we all know how that one has withstood the test of time among cult classics. It was simply a risky move on a highly controversial subject that ended up as an entertaining tale with the most satisfying climax of any film this year. I expect nothing less from the man who has invented a genre.

Now for the main TV categories, without the exhaustive commentary.

Best Show, Drama - Dexter. Great writing, acting, and a guilty pleasure through and through.

Best Show, Comedy - Modern Family. The best new show on TV, supplants 30 Rock and the Office as the best comedy.

Best Actor, Drama - Michael C. Hall. Dexter. Hall has made a serial killer the coolest character on television. How can you argue that?

Best Actor, Comedy - Alec Baldwin. 30 Rock. He does deadpan comedy so well, and does so with such ease that would be a perennial shoe-in if not for that Carell character.

Best Actress, Drama - Kyra Sedgewick. Due to the lack of competition this year, and her longevity with the series, she wins.

Best Actress, Comedy - Tina Fey. 30 Rock. The perfect comedic yang to Baldwin's yin, and as one of the creative minds behind the humor, it adds to her viability.

Best Supporting Actor - John Lithgow. Dexter. Making this season one of the most exhilarating, Lithgow played the villain with such uncharacteristic creepiness. I can't look at him the same.

Best Supporting Actress - Jane Lynch. Glee. She is the equivalent of a comic Midas. Everything she touches is comedic gold.

Up in the Air

Jason Reitman's follow up to his wildly successful Juno assembles an excellent cast and throws them into a story involving airports and the economic decline. However uninteresting and despondent these two topics are, a gem of a story emerges.

Up in the Air has an amazing cast with George Clooney, newcomer Anna Kendrick, Vera Farmina, Jason Bateman, JK Simmons, Zach Galifaniakis, Danny McBride, and a short Sam Elliot cameo.

The film is a serious look at family, love, life on the road, and a difficult job that requires equal parts objectivity and sympathy. There is just the right amount of levity and humor interspersed to make it a very respectable and clever movie. The writing is top notch, and all of the actors bring their A game, regardless of the size of their roles.

Clooney excels as Ryan, an antiquated road warrior who is hired out to lay off workers around the nation when the companies are too scared or nervous about liability to do so. Kendrick plays the young, sharp, aspiring corporate woman with ideas that will increase productivity and efficiency within the company, but that will eliminate the nuance of the human touch. Jason Bateman, as Clooney's boss decides that he should show her the ropes on the road.

Farminga plays the female equivalent of Clooney, and the two meet on the road for trysts that inevitably turn into more. She does a nice job of being likable as well as emotionally distant, and has a very natural and admirable banter with Clooney.

The subtle subplots are the most compelling piece of this film however. Clooney's hotel convention speaking engagements where he creates the metaphor of everything in your life being carried in a backpack, and ultimately that they weigh you down, and you should lighten your load. It's poignant, and quite appropriate considering his lifestyle, but you can sense that behind the confident exterior of a man with the bravado of a lone wolf, there is a loveless and regretful life of a man approaching his 50's.

The second subplot, which I found to be pivotal to the larger plots of the film is Clooney's ultimate goal, which has to do with frequent flyer miles. When he finally reaches his goal, there is a fleeting moment of excitement, followed by a prolonged sadness as the reality of his accomplishment sinks in. The film then concludes in a predictable manner, but one which really sticks, and drives the point of the entire story home very gently,

This is a tremendously smart film, even more-so than Juno was. I foresee Oscar nominations for film and director, as well as Clooney for Best Actor and Kendrick for Supporting Actress. To this point, this is the best film I have seen this year with Hurt Locker and Inglorious Basterds taking a relatively close second and third.

Depending on Daniel Day-Lewis in Nine, I think Clooney will take the big prize in March. 9/10.

Invictus

The rejuvenation of a man, wrongly imprisoned for 30 years, only to return and lead his people to peace and prosperity. It's not Edmond Dantes, it's Nelson Mandela. The South African revolutionary who ended Apartheid now is the subject of a biopic by master filmmaker Clint Eastwood. His longstanding friendship with Morgan Freeman catalyzed this unusual genre for Eastwood, but this is the role that Freeman was born to play, complete with the bright, toothy smile and the white/grey streaks through his hair.

The film presents its heavy themes through the easily interpreted metaphor of sports. In this case, rugby. This move is simultaneously brilliant and distracting from the importance of the country's struggles. Matt Damon plays the team captain who is trying to boost the confidence of the underdog team as they enter the hallowed World Cup in 1995. What on the surface appears to be a wonderful confluence of stories, and as inspirational as it is, becomes a little divided between a sports story, and a powerful political drama.

There was tension put into play by making the newly empowered security detail a focal point of the story, as well as the racially integrated composition element. There were brief moments where assassination attempts seemed likely, and I kept bracing myself for the possibility, but the mood kept turning toward hope and peace. The post-Apartheid violence was overshadowed by the magnanimous man willing to forgive his oppressors.

Damon gives a good performance, but is very stoic and stereotypical as the leader of the team. He does not give pep talks as you would think appropriate in this type of film, and he leads them into competition, but the character angle of the sports theme is a bit dry and fleeting.

This is the perfect role for Freeman, although he doesn't have to stretch much beyond the manipulated accent. It is reminiscent of last year's Frank Langella playing Nixon, only slightly less powerful. Eastwood's trademark storytelling is clear by touching shots of the slums and divisive communities, as well as the music. Lone piano key strokes with subtle mood manipulating melodies constantly bring me back to Unforgiven and Million Dollar Baby. Not a bad thing, but not exactly what I want to think about during a 1991 racial film.

In many ways reminiscent of Remember the Titans, Invictus uses racial tension to bolster what is an otherwise relatively insignificant and common sports underdog feat. I like the dedication that Eastwood gives to the authenticity of the film, but I was left feeling a little manipulated.

I enjoyed this film, and I am sure that with this award season wide open, it will garner some nominations, but I don't see it winning anything beyond the nostalgic biopic votes (Frost/Nixon?). Definitely worth watching - a remarkable true story that warms the heart and educates on the all too recent injustices in the world. 7/10.

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