Golden Globe and SAG analysis

The Hollywood Foreign Press and the Screen Actor's Guild have spoken, and they lend some surprising clues toward who may win the Oscars come March.

First, the awards that were both anticipated, and uncontested. Avatar for Best Picture and Cameron for Best Director. These will undoubtedly be repeated at the big show. Not that it is the best story, or even maybe film of the year, but the fact remains that 15 years in the making, revolutionary film making technology, and the potential to be the first film ever to gross 2 billion dollars worldwide are worthy of recognition. It is an achievement never before seen, and it will win all technical awards as well. The Hurt Locker, Inglourious Basterds, and Up in the Air were exceptionally well-made and entertaining films, but they lack the momentum and buzz of Avatar.

Christoph Waltz and Mo'Nique for Supporting Actor and Actress. Waltz was incredible in Inglourious Basterds, and although I haven't seen Precious, the ladies from Up in the Air will hurt each other's chances to win. Nine is too weak of a film, and the fifth nomination is yet to be determined.

Jeff Bridges has cleaned up the major awards with his come from nowhere film Crazy Heart. I see this as the equivalent of last year's Wrestler, which probably should have won Mickey Rourke the Oscar. It was a small film, and there were some skeptics, but Bridges has more recognition and has proven his acting value with four previous nominations. He should win over Clooney and Renner, although both of them deserve the recognition for brilliant performances and have added an array of critics prizes over the past month or two.

Sandra Bullock is the big surprise for me. She has received none of the best acting awards except for the Golden Globe and the SAG. She wasn't on my radar, and I think it is more unlikely that she will lose the Oscar in a relative upset. Sidibe, Mulligan, and Streep all are more viable candidates in my opinion. I wouldn't be at all surprised if Meryl Streep wins her 3rd Oscar in her 16th nomination. (Not a typo - 16th Oscar nomination). This would put her in the elite company of Ingrid Bergman, Walter Brennan, and Jack Nicholson. Only Katherine Hepburn has won more acting Oscars (4). Streep may tie or beat that before her career is over.

Up in the Air seems to be a lock for Adapted Screenplay. The category is weak, and it was one of the best films of the year. Loved by critics (and myself), it stands out like a sore thumb.

Inglourious Basterds should win Original Screenplay. It is fresh, creative, and has the Tarantino touch. The only possibly competitors are Avatar for obvious reasons, or the Hurt Locker. I would be happy if any of the three win the prize, although Avatar is too visual and not substantive enough to truly deserve it.

Those are the categories worth singling out. Check back in the next couple of months, and see how accurate my predictions are.

Book of Eli

Denzel Washington takes on the post-apocalyptic nightmare in the Hughes' brothers' fifth film (and they really haven't impressed since Menace II Society), the first in almost a decade. This time around, they clash a spiritual theme with a more secular and violent delivery. Interesting, right? If done right, the answer might be yes.

Washington plays Eli, a lone wanderer protecting the last remaining bible on earth while making his way to the West through wastelands and Mad Max inspired characters. We have seen this paradigm before. Good guy walks into trouble, finds a head honcho baddie, and leaves a trail of havoc in his wake. The problem with this type of model is that the bad guy generally is not believable as the mastermind and muscle. In this case, it is Gary Oldman, who returns to his Fifth Element mantra as a loud and verbally abusive boss. Only thing is, he appears weak and ineffective when lined up with his rugged and ruthless henchmen.

Throwing another wrench in the mix is Mila Kunis. She is a gorgeous young actress with an annoying voice and little talent beyond her looks. The antithesis of the type of girl you would see in this horrible dystopian future, she sticks out like a sore thumb.

Washington salvages the acting however, although dialogue is not a focal point. Instead, a bleak landscape with impressive sets and slow-motion camera shots are more the star. Long lulls interspersed with short pockets of action are not enough to keep the film afloat. Washington's talent is misused in this film as well, as there is little action, little dialogue, and little story.

The ending, although not as predictable as it could have been, is a cop out in the context of the story. The religious holier-than-thou message is misguided and a bit condescending. The Hughes' should have spent a little more time with the frenetic fight scenes. They are laden with great camera shots and good choreography, but they are ultimately flaccid and unsatisfying.

Much more uplifting and hopeful of a theme than last year's The Road, but I think the post-apocalyptic film genre needs a little break and revamping before it resurrects the Road Warrior. There are just so many times you can root for one man in the face of adversity, especially when there is no justice or real endgame. Denzel took a leap of faith with this role, and although the box office may prove otherwise, it is just not very good.

Interesting idea, but falls flat. 6/10.

10 Must See Movies of 2009

After reading Stephen King's list in Entertainment Weekly, I thought I would publish my own list of the 10 movies that you absolutely must see from 2009. These films range from comedy to action, drama to sci-fi. Some are mainstream blockbusters, and some are more obscure. Without further ado, the 10 movies you absolutely must see from 2009.

10. The Informant!

Matt Damon showing comedic range as a corporate whistle blower in this piece of non-fiction. Soderbergh does a fantastic job with the levity of satire while maintaining the integrity of what is ultimately a seriously entertaining film.

9. Moon

Sam Rockwell as a solitary miner on the moon. Far and away the most original piece of science fiction this year, a great simple story with a haunting conclusion.

8. A Serious Man

The Coen brothers continue to etch their place in cinematic history with another plot that is little more than prolonged dialogue and quirky characters.

7. District 9

Amazing film for the budget. Timeless racial overtones and international flavor combined with futuristic weaponry and aliens. A recipe for pure entertainment.

6. The Hangover

By far the funniest film of the year. The trio of Zach Galifianakis, Bradley Cooper and Ed Helms complement each others' strengths and give birth to what is most likely going to become a trilogy or more. Unfathomable box office success and DVD sales, this movie has become one of the highest grossing comedies of all time. Galifianakis is emerging as a comic superstar.

5. Star Trek

A huge gamble in resurrecting an historic and fading franchise pays off with an injection of youth and coolness. Throw in new technology with great special effects and a director who blazes his own trail, and there is action galore.

4. Inglorious Basterds

Tarantino. His name is synonymous with wickedly clever screenplays, and tackling one of the most taboo film genres of the 20th century doesn't disappoint. His bold perspective makes for an epic cult classic in the making.

3. The Hurt Locker

Katherine Bigelow may take home the Oscar for direction, and Jeremy Renner leads a small but visceral cast in the edge-of-your-seat film of the year. Bomb defusing in an unforgiving war zone never seemed so real.

2. Avatar

The titanic 3D Imax extravaganza will resonate in the minds of cinemaphiles for years to come. Unlike anything ever seen before, this is the epitome of magical film entertainment. It will be a long time before something this monumental occurs again.

1. Up in the Air

Clooney will notch another Oscar for this light and airy dramedy. All around great, it manages to cause serious reflection on life, relationships, and the baggage that we all carry with us everyday. Jason Reitman will take home serious hardware before his career is finished.

Youth in Revolt

Quirky and awkward. Aloof and dispassionate. Michael Cera has the market cornered for dry, sardonic teen humor. His latest pits him as a lovestruck kid from a dysfunctional family who finds himself doing abhorrent things to impress the girl of his dreams.

The premise may pique some interest, but the delivery leaves much to be desired. Cera is Nick Twisp, a teen who has too sharp of a wit, and too broad a vocabulary to be taken seriously. His mother is a slut living off of his child support payments, and his father is chasing twenty-somethings. Nick leads a miserable existence, and worst of all, he is a virgin.

After realizing that women fall for bad boys (how unique), he creates an alter-ego named Francois Dillinger. What contributes to the comedic failure of the film is how Dillinger is not given the opportunity to let loose. His deadpan confidence is amusing, but his dialogue is shortened in contrast with Twisp's nerdy, voice-cracking mumblings.

The film attempts to capitalize on the success of American Pie, Superbad, and the other teen romp-comedies of the past ten years, but does so in an original way, which is frankly not very funny. Cera has a natural humor about him, but with the exception of a few good lines, the film falls flat.

Miguel Arteta, the director has been directing TV for the past decade, but this is his first high profile film. The attempt is valiant, but falls flat. Some of the humor is crude and ill-timed (I know - am I getting old, or what?).

Cera's acting talent is being wasted on typecast roles. I would love to see him take on something more seriously, which he dabbled in with Nick and Nora's Infinite Playlist, and Juno. He will be around for a long time (only 21), but I am waiting for the leap to more adult roles.

The supporting cast is mostly disappointing; Steve Buscemi, Zach Galifianakis, Ray Liotta, Fred Willard, and Justin Long all have limitless potential, but every one of them were given mediocre at best roles.

Forgettable story, brief pockets of humor, but otherwise terrible. 5/10.

Nine

Rob Marshall's musical follow-up to the wildly successful and Academy Award winning Chicago is a slightly less original, and far less musically inspiring rendition of the Broadway show Nine.

A very intriguing story finds Daniel Day-Lewis as an Italian director and Lothario who is planning his next masterpiece in the early 1960's, while the story within the story shows how various women have inspired him throughout his life. It is just segmented enough for the viewer not to become too bored, and the introduction of various A-list actresses in their respective roles in the director's life are just short enough for the most ADD of us to keep focused.

Lewis is amazing, but the Irish actor is playing Italian in English, which translates to a bit of a weak singing voice. The women in his life; Kidman, Cotillard, Dench, Loren, Hudson, Fergie, and Cruz all show impressive vocals and choreography, but the material is just plain flat. It must have been a fun film to make, especially for the women, but it is nothing more than some fantastic costumes, singing, dancing, and crying.

There would have been a much different feel to the film if it would have been adapted to a more local venue. Nothing against the Italians, but I didn't feel vested in his relationships or the cultural relevance of this iconic man. there was a sort of disconnect between the time and place, and it was presented in a much more whimsical manner. Additionally, the music was just plain bad. The actors and actresses gave it their all, but the combination of things led to a less than memorable experience.

The star of the film is Daniel Day-Lewis as Guido, his country's cinematic treasure. From the hotel bellhop to the Catholic Bishops, he is revered for his once brilliant craft, although his star is fading. The opportunity to create a new masterpiece has everyone buzzing, and he begins to implode from the stress.

The idea of the film with the vignettes performed by each of the women representing a piece of the man's scattered and affected mind is wonderful, and I got chills during the final scene as he gets back on the proverbial horse and his memories congregate behind him on a scaffold to help him perform his duty. It felt like it was wrapped up nicely in the end, and I admire Lewis for his bold aspiration.

Marshal has found a niche in the musical genre, reinventing the silver screen allure of song and dance, and his attachment to the new Pirates of the Caribbean should be nothing short of interesting.

Before the buzz, I was very excited to see this film, but after hearing some of the critical panning, I have to say it was precisely what I was expecting. I foresee Oscar nominations for Daniel Day-Lewis and Marion Cotillard, but I don't see anything more than costumes or choreography to potentially win.

Good effort, but a little vanilla. 6/10.

2010 Top 100 Movies List

I thought I would do something a little different this year - instead of going through the painstaking task of ranking films, I will simply list my top 100 in alphabetical order. Besides, how does one compare the Shining to Seven Samurai, or Heat to Duck Soup? It is emphatically subjective. You may notice some new additions to the list this year (Avatar, Up in the Air, Inglorious Basterds). I hope you enjoy, and appreciate your comments.

2001
A Clockwork Orange
A History of Violence
A Streetcar Named Desire
Alien
Aliens
All Quiet on the Western Front
American Beauty
American Graffiti
American History X
Animal House
Annie Hall
Apocalypse Now
Avatar
Bonnie and Clyde
Boogie Nights
Braveheart
Brokeback Mountain
Butch Cassidy and the Sundance Kid
Caddyshack
Casablanca
Chinatown
Citizen Kane
Cool Hand Luke
Dazed and Confused
Deer Hunter
Dog Day Afternoon
Dr. Strangelove
Duck Soup
E.T.
Empire Strikes Back
Enter the Dragon
Fargo
Fast Times at Ridgemont High
Fight Club
Forrest Gump
Full Metal Jacket
Gladiator
Glory
Good Will Hunting
Heat
High Noon
Inglourious Basterds
It Happened One Night
It's a Wonderful Life
Jaws
LA Confidential
M.A.S.H
Modern Times
Mystic River
No Country for Old Men
North by Northwest
On the Waterfront
One Flew Over the Cuckoo’s Nest
Patton
Platoon
Primal Fear
Psycho
Pulp Fiction
Raging Bull
Raiders of the Lost Ark
Rear Window
Rebel Without a Cause
Return of the Jedi
Road to Perdition
Rocky
Saving Private Ryan
Scarface
Schindler's List
Se7en
Seven Samurai
Star Wars
Taxi Driver
The Apartment
The Big Lebowski
The Dark Knight
The Departed
The Exorcist
The Fellowship Of The Ring
The French Connection
The Godfather
The Godfather 2
The Graduate
The Manchurian Candidate
The Matrix
The Shawshank Redemption
The Shining
The Silence of the Lambs
The Sixth Sense
The Thing
The Wall
There Will Be Blood
This is Spinal Tap
Titanic
To Kill A Mockingbird
Tombstone
Training Day
Unforgiven
Up in the Air
Vertigo

Narrowly missing the list this year are the following films - they may rise in 2011.

Blade Runner
Copland
Crash
Curious Case of Benjamin Button
Die Hard
In the Bedroom
Into the Wild
Milk
Monty Python and the Holy Grail
Office Space
Return of the King
Slumdog Millionaire
The Hurt Locker
The Searchers
Traffic
True Romance
Usual Suspects