Ranking the 2010 Best Picture Nominees

Oscar nominations were unveiled on Tuesday, and while previously it looked like The Social Network was a shoo-in for the win (as it was racking up a lot of other awards), it now looks like there will be some competition from The King's Speech, which surprised many by receiving the most Oscar nominations (12) of any film.  I can already say that the ten nominees are not the same as my ten favorite films of the year, and I'll release my top ten at a later time.  Here is my personal ranking of the ten nominees (along with a brief comment on each), which will definitely not reflect the opinions of the Academy.

#10 - The Fighter

A boxing movie that is fun but overacted just about to the point of being annoying.  In such films, it's important that we really care for the main character as a human being.  However, in this case, all the attention is stolen by supporting characters.  While the story of Christian Bale's character is intriguing, the other characters in the family are impossible to take seriously, which is a problem in a movie that in theory should strive for realism.  To compare The Fighter to Rocky and Raging Bull is blasphemy.

#9 - True Grit


Certainly a solid re-imagination of the novel, and while I did find some aspects to be improvements over the 1969 film, there were also aspects that were weaker, and so I question the need for another film adaptation.  In this version, I like the darker tone as well as the overall acting.  However, in terms of storytelling, I prefer the older film, which features Rooster Cogburn (John Wayne / Jeff Bridges) as more of a main character as opposed to faithfully sticking to the perspective of Mattie Ross (Kim Darby / Hailee Steinfield).

#8 - Toy Story 3


With the expansion of the Best Picture nominees to ten films, I get the impression that each year's Pixar film will be a near lock for nomination, which is a great compliment to Pixar, though I feel that the quality has dropped off since WALL-E.  Certainly Toy Story 3 was an enjoyable and emotional experience, but to me, it was more solid than special. I respect Pixar's unique ability to make films that appeal to all ages, but for the adults, this sequel probably relied too much on the nostalgia factor that I might have had if I were in love with the first two Toy Story films.


#7 - 127 Hours


I'll agree with the consensus that 127 Hours is impressive in that it makes a thoroughly entertaining movie out of a plot that is 90% described by the sentence "a man gets his arm stuck under a rock."  In a way, this film is similar to The Hurt Locker in that both films really dig deep not into your emotions but into your actual sensations.  Danny Boyle makes the most out of the plot through effective use of sound and cinematography, and especially an Oscar-worthy performance from James Franco, whose character goes through everything from emotional flashbacks to farcical self-interviews.


#6 - The Kids Are All Right


I'm not sure why movies of this type are always billed as comedy-dramas (Sideways comes to mind) when really they're just character-driven dramas with no more than a moment or two of comic relief and sometimes a couple of quirks.  With that rant aside, The Kids Are All Right is very enjoyable and explores family-related situations beyond what I've seen from any other film.  The acting really drives the film, with the most memorable performance by Annette Bening, along with a solid and completely contrasting performance from Mark Ruffalo.


#5 - The King's Speech


The King's Speech, much like its Oscars rival The Social Network is high in the likability factor in that both films are rather straightforward and can be enjoyed easily without too much effort on the part of the viewer's intellect or emotions.  Rather, these two films rely on great dialogue and acting for more organic entertainment.  I can't say that the film has any aspects that will stick with me for the rest of my life, but it is definitely a solid, entertaining, and very likable film that revolves around the uninhibited performances of Colin Firth and Geoffrey Rush.


#4 - Winter's Bone


It's great to see the low-budget Sundance Film Festival winner included in the nominees this year.  Winter's Bone has its foundation on a strong main character and an atmosphere that is mysterious and unsettling.  Instead of being told a story, we instead live through the story, basically experiencing ourselves the ordeal of Jennifer Lawrence's character Ree Dolly.  In addition to Lawrence's subtle yet compelling performance, the genuineness and stark realism of the film is what brings it as high as #4 on this list.


#3 - The Social Network


If I could describe this film in one word, it would be "solid."  Not mind-blowing, but solid.  Aaron Sorkin's fast-paced, witty script is the main star here, and the acting (with a few exceptions) is strong enough to do the writing justice.  I hate to say it, but I get the impression that the "true story effect" (i.e. the notion that when a film is based off a true story, it is automatically better) is really inflating the critical response to this film.  While I do appreciate the film's relevance to real life, it still for me lacks the "oomph" factor for me to rank it any higher than #3 on a weak year.


#2 - Black Swan


The start of the movie is rather slow and has more of a horror-like feel, but the film gradually accelerates to a finale that is so good that it pushes the movie above a more overall solid effort (The Social Network) in my rankings.  The horror aspect seems random at first, but it really comes together by the middle.  Natalie Portman's acting makes her a frontrunner for the Best Actress award, and the camerawork is especially superb - as if the camera is dancing ballet itself.


#1 - Inception


The only movie of the bunch that made me go "whoa."  Inception was engaging from beginning to end, and created a world that was so engrossing and evocative, while maintaining a high level of entertainment by avoiding an overly convoluted plot.  Leonardo DiCaprio once again shows us here (and in Shutter Island) why he is one of the greatest actors of our generation, yet he continues to be overlooked by the critics.  Sadly, the film is essentially out of the running for Best Picture, as director Christopher Nolan was - for a second film in a row (The Dark Knight) - snubbed of a Best Director nomination.

My Top 100 Movies: #80 - #71

Wow, it's been a while since I've worked on this blog series, but right now is a perfect time to get things started again on movie talk.  Since I made my Top 100 list back last November, I've seen some great movies like The Hurt Locker and Inception, which could very well break into this list if I were to rewrite it.  These movies are still fresh in everyone's minds though, so I'll just leave the list as is and hopefully introduce some older films that people might not already be familiar with.  Make sure to check out the links at the bottom of this entry to see the Top 100 list, as well as my blurbs for movies #100 to 81, since it's been a really long time.

*****

#80

Forrest Gump

Dir. Robert Zemeckis (1994)

Forrest Gump is a movie that everyone can easily enjoy over and over again, and in my opinion it rightfully won the Best Picture Oscar in 1994 over other great movies in Pulp Fiction and The Shawshank Redemption.  This is a movie without any weak points and filled with charm.  It offers an alternate perspective not only of history, but also of life itself.  Even if for nothing else, Gump's many memorable scenes and quotes secures its place as an immortal piece of cinematic history.

*****

#79

The Bicycle Thief

Dir. Vittorio De Sica (1948)

The most emotional movies are those where we can immerse ourselves into the characters' situations, and the Italian neo-realist movement is all about this idea.  The Bicycle Thief is a snippet of reality, where "plots" are more likely to be simple rather than resembling many of the convoluted, unbelievable plots of today.  In this case, a poor man spends all his money on a bicycle so that he can work, only to have it stolen.  The film is shot on the streets, the characters are played by real people - not actors, and the experience feels real.

*****

#78

Boyz n the Hood

Dir. John Singleton (1991)

Yes, I too thought this was a comedy when I read the title and looked at the cast (Cuba Gooding Jr., Ice Cube, and "Larry" Fishburne), and boy was I surprised when I finally popped in the DVD without knowing anything about the plot, because this was one of the most tragic movies I have ever seen.  Boyz n the Hood shows all the ugly sides of slum life and gang life.  Other movies on the same topic tend to focus on the violence, while this one is not afraid to show the effects of violence on the fragile human emotion.

*****

#77

The Bridge on the River Kwai

Dir. David Lean (1957)

The Bridge on the River Kwai ranks up there with The Great Escape, The Deer Hunter, and Grand Illusion as one of the all-time great prisoner of war films.  These movies thrive on individual interactions instead of the action of battle or the politics of war, and these interactions are especially emphasized in this film, where Alec Guinness plays a British colonel in a Japanese prison camp in Thailand led by the stern but human Colonel Saito.  Meanwhile, a few Americans escape the camp and plot to destroy the bridge that the POWs are being forced to build, leading to one of the best movie endings of all time.

*****

#76

Rocky

Dir. John Avildsen (1976)

Just as was the case with Forrest Gump, Rocky was that feel-good movie for all audiences that won the Best Picture Oscar, only to have people years later criticizing the Academy's choice.  In this case, the film beat out Taxi Driver and Network.  In retrospect, I'd give the award to Taxi Driver, but I also do feel that Rocky is often overlooked as merely a feel-good sports movie.  It's really so much more than that though, and especially in the first film, the boxing, Rocky's personal development, and his relationship with Adrian are all interconnected.  If the only thing you care about while watching is whether Rocky wins or loses his boxing matches, then you're missing the point.

*****

#75

Arsenic and Old Lace

Dir. Frank Capra (1944)

Suffice it to say that Arsenic and Old Lace was a very bold movie for its time.  A newlywed played by Cary Grant visits his aunts' home to discover that they have a hobby of inviting old men over and poisoning them.  And when the other characters include a guy who thinks he is Theodore Roosevelt and a psycho killer on the run who looks like Frankenstein's monster, you can get an idea of how crazy the movie will turn out.  Cary Grant plays his role to perfection, repeatedly using a certain facial expression (see the picture) to draw out laughs at those moments when the other characters aren't already doing so.

*****

#74

Butch Cassidy and the Sundance Kid

Dir. George Roy Hill (1969)

A different kind of western film, Butch Cassidy and the Sundance Kid centers on the adventures (or misadventures) of two bank robbers: Paul Newman as Butch Cassidy and Robert Redford as the Sundance Kid (the namesake of Redford's Sundance Film Festival).  The movie is filled with dialogue that is stylish and charming, and combines the traditional western plot with a love triangle and a good amount of action.  Overall, this film is really stylish and likable, and just tons of fun from the beginning up to the immortal final freeze frame.

*****

#73

Ace in the Hole

Dir. Billy Wilder (1951)

Billy Wilder's Ace in the Hole was initially released to a negative reception in 1951 due to its negativity and criticism of the media and human nature.  Over the years, people have come to realize the film's genius, as its harsh views on journalism are still accurate today.  The film revolves around the rescue efforts during a mining accident that turns into a big media circus.  Kirk Douglas plays a journalist who deliberately delays the rescue efforts in order to get more publicity, eventually resulting in the death of the trapped miner.  Even to this day, the film is not as famous as some of Wilder's other works, but it is definitely just as good.

*****

#72

Alien

Dir. Ridley Scott (1979)

The Alien series has by now devolved into such a brainless sci-fi action franchise that it's easy to forget that its roots lie strictly in horror.  I'll lay the blame on James Cameron, who made the respectable sequel Aliens but also unfortunately gave the execs bad ideas.  Oh well, I guess the same thing happens to just about every other great horror movie.  Anyway, just like Jaws, the horror in Alien comes from a fear of the unknown - in both cases, it's not until near the end where we see the monsters in full form - along with an eerie pacing.  These two elements sadly have disappeared from both franchises - the first by nature and the second by the studios' desire for more killing and less meaning to each kill.

*****

#71

Being John Malkovich

Dir. Spike Jonze (1999)

Want to see a movie that messes with your mind but is loads of fun?  Look no further than Being John Malkovich, the child of two of Hollywood's strangest minds in director Spike Jonze and writer Charlie Kaufman.  The movie is just about as strange as its title and stars a semi-unrecognizable John Cusack as an unsuccessful puppeteer who discovers a portal into the mind of John Malkovich (played by himself).  All the chaos that ensues needs no further explanation.

*****

For the complete Top 100 list, click here.

Movies #100 - #91 here.

Movies #90 - #81 here.

20 of the Best Films of the Decade

So I originally wanted to do a Top 10 list for movies of this decade, but that became way too difficult. So was ranking the movies in any way, so here's just a list (in chronological order of initial release) of 20 movies from 2000-2009 that are outstanding in one way or another and definitely worth watching - especially for anyone who wants to get into movies without jumping into the deep end (i.e. the ocean of great, old movies).

For another perspective on some of the best films of the decade, check out Jabe's blog entry, which is definitely written much more eloquently than what is to follow.

*****

Dancer in the Dark dir. Lars von Trier (2000)

Featuring two quirky personas in director Lars von Trier and lead actress Björk, this one-of-a-kind musical combines the best qualities of both to make one of the most memorable films of the decade. Dancer in the Dark combines the emotional pain of von Trier's earlier Breaking the Waves and the alternative filming style of all of his works with Björk's mysterious aura and unique musical style. That's right, the songs are done in the trippy, electronic musical style of Björk.

Memento dir. Christopher Nolan (2000)

Here we have one of the most interesting storytelling devices to ever hit a screen, and the substance behind it doesn't disappoint. Anti-hero Leonard Shelby has a condition in which he cannot form new memories, and so he finds himself caught in the middle of a situation - which is really only a situation because of his condition. The story is told in reverse order, yet in a not confusing manner, so that we can see an already intense plot unfold to us in the form of a mystery.

Amélie dir. Jean-Pierre Jeunet (2001)

The quintessential feel-good movie of the decade. Nitpickers can say all they want about the film, but the truth is that what it intends to do, Amélie does perfectly. Filmed with the quirky writing and rich cinematography that has become a signature of Jean-Pierre Jeunet, and filled with some charming acting - in particular by Audrey Tautou, who plays the title role - Amélie is a great watch with a significant other or just anytime you need a smile.

Moulin Rouge! dir. Baz Luhrmann (2001)

The final installment of Baz Luhrmann's "Red Curtain Trilogy," Moulin Rouge! has Luhrmann written all over it and is tons of fun. As dictated by the Red Curtain principles, the film alienates the audience so much that you're always aware that you're watching a movie. This slight uncomfortableness combines with things we've seen from Luhrmann before: vibrant cinematic touches (Romeo + Juliet) and a quirky writing style (his radio hit "Everybody's Free (To Wear Sunscreen)," combining plot elements of three famous operas with some great arrangements of pop music hits.

Mulholland Drive dir. David Lynch (2001)

David Lynch's Mulholland Drive is a thriller made in the most unconventional of ways and is probably Lynch's most accessible film, though that certainly isn't saying much. If you think Lost is cryptic - well, this movie makes the TV series seem as clear as crystal. For some reason, though, it keeps you engaged in the convoluted, dreamlike "plot." Trying to make sense of it is not only optional, but also discouraged. Still, it has been the subject of extensive study by Lynch fanatics. Only David Lynch can make a movie this twisted that is so great that people actually have the patience to want to unlock its mysteries.

Monster's Ball dir. Mark Forster (2001)

Monster's Ball is probably most known for its infamous Halle Berry nude scene, even though there are a lot of other reasons to go and watch the film. It has some of the best acting in movie history; Halle Berry, Billy Bob Thornton, Heath Ledger, and even Sean "Puffy" Combs deliver some really convincing performances that result in an intense and exciting character-driven drama. That this didn't even get an Oscar nomination is outrageous.

Minority Report dir. Steven Spielberg (2002)

A modern masterpiece from Steven Spielberg, who for the past three decades has had the amazing ability to almost consistently make movies that both are great in quality and bring in the cash. I would have to pick Minority Report as Spielberg's greatest work of this decade. Spielberg uses some really effective editing, cinematography, special effects, and art design to make a dark, sci-fi thriller that is constantly exciting and a little eerie. Other great Spielberg movies of the 2000's include Munich and Catch Me If You Can.

City of God dir. Fernando Meirelles (2002)

If I had to rank these movies, the thrilling Brazilian film City of God would take either the #1 or #2 spot (competing with No Country for Old Men). If one word could best describe this movie, it would be "awesome." There are just so many elements that make this movie so great: a captivating plot, superb acting, lightning fast editing, and a great, visceral depiction of the violent Brazilian slums. Sadly, City of God isn't too well known outside of the film enthusiast circle ("wait, is that the movie with Nicolas Cage in it?"), but it is a modern classic and a great piece of foreign cinema.

American Splendor dir. Shari Springer Berman & Robert Pulcini (2003)

As far as biopics go, American Splendor probably tops the list in terms of creativity. The film looks at the life of comic book artist Harvey Pekar, whose comic series "American Splendor" is itself semi-autobiographical. Unique storytelling techniques make the film always entertaining, including the intertwining of portrayals of Pekar and his wife Joyce Brabner by actors with documentary footage of Pekar and Brabner themselves. When it comes to adapting a comic for the big screen, Pekar has to be happy with this result, as opposed to frame-for-frame recreations like those done in Sin City, 300, and Watchmen.

Sideways dir. Alexander Payne (2004)

I feel like Sideways is often underrated because it was advertised as a comedy about wine. It does have a few funny moments, and it does have wine, but I would definitely call it a drama - a fantastic one - that uses wine as a metaphoric device. The main strength of the film is definitely the acting. The four leads can really draw out all different kinds of emotion from a script that is efficient but very demanding from an acting perspective. Paul Giamatti's performance was particularly memorable, and it's a shame that the Academy thinks that more acting is better acting, when it penalizes those like Giamatti who are trying to be genuine.

Grizzly Man dir. Werner Herzog (2005)

Our representative of the documentary genre in this list is Werner Herzog's Grizzly Man - an intriguing though at times haunting look into the life and death of "Grizzly Man" Timothy Treadwell. The film is made largely from footage shot by Treadwell himself as he makes yearly ventures into the depths of Alaska, living among the bears and hoping to raise awareness about them. It is also a meditation on both Treadwell's complex drives and passions, as well as human nature itself, and throughout the film you can't help but deeply analyze Treadwell's nature - is he a hero or is he just nuts?

Children of Men dir. Alfonso Cuarón (2006)

Mexican director Alfonso Cuarón of Y Tu Mamá También and Harry Potter 3 fame follows up with the visionary Children of Men, which creates one of the most believable dystopias in fiction. Instead of having a world with flying cars, robot servants, and laser guns, the future world in Children of Men looks much like the world of today, but just a lot worse. The film creates a dark but fascinating atmosphere that combines with some smart action and themes that are all across the emotional spectrum, resulting in one of the greatest films of our generation.

Pan's Labyrinth dir. Guillermo del Toro (2006)

This past decade has been marked by the sudden growth of Mexican cinema, with directors like Alfonso Cuarón, Alejandro González Iñárritu, and Guillermo del Toro leading the way. Del Toro's Pan's Labyrinth stands out in particular and has been able to gather a mainstream acceptance in the U.S. because of its amazing, quasi-hypnotic depiction of a fantasy world. Well, really what makes this fantasy world so effective is its juxtaposition with the violent realities of the Spanish Civil War and its role in a well-crafted, painful and cruel story.

Zodiac dir. David Fincher (2007)

David Fincher, most famous as the director of Fight Club and Se7en, released this largely overlooked gem in 2007, which I consider to be the best of the three films. Unlike the other two films, Zodiac - which follows the true story of an everyman's obsession with tracking down and identifying the "Zodiac" serial killer - is told very plainly. Gone is the borderline-excessive grandeur of image (Se7en) and word (Fight Club), and instead we get a straight-up, captivating "thriller" of a mystery along with a fascinating character study.

Once dir. John Carney (2007)

Like its title, Once is simple. Watching this music-infused love story is like experiencing life itself. It's just a charming little story that doesn't hit you in the jaw when you watch it but sticks with you and grows on you. The two nameless lead characters are played by musicians, who not only play their roles more genuinely than any actor could, but also write all of the great music performed throughout the film. As for the plot, it's much like the classic Brief Encounter minus all the sappiness - and this lack of sappiness is exactly what makes Once feel so familiar.

Across the Universe dir. Julie Taymor (2007)

This musical, whose numbers are original renditions of Beatles' classics, was welcomed with mixed reviews. Overall, the music and visual style was received warmly, while the plot was more harshly criticized. While the plot is indeed far from the best, I'm pretty sure the main point of Across the Universe was to pack as many Beatles songs (33 to be exact) as they could into the movie and connect them with a loose plot to allow the narrative to flow linearly. The arrangements and visuals are so good that the weak plot is forgivable. I like to think of the film instead as 33 great, creative music videos.

No Country for Old Men dir. Joel & Ethan Coen (2007)

Along with City of God, this would be the other leading contender for what I consider the best film of the decade. The Coen brothers once again show off their versatility by creating this suspenseful take on Cormac McCarthy's novel that would make Alfred Hitchcock proud. In doing so they bring to life one of the craziest characters to ever hit the screen in the main villain Anton Chigurh, perfectly portrayed by Oscar winner Javier Bardem. In addition to a thoroughly exciting plot, which is essentially a big chase, the film features brilliant contrasts among the main players and evokes interesting thoughts about chance versus fate.

WALL-E dir. Andrew Stanton (2008)

Pixar has been releasing some great movies (and short films) year after year and definitely has been raising the bar when it comes to making high-quality animated films. In terms of overall quality, I'd have to put WALL-E at the top of the list, though Ratatouille, The Incredibles, Up, and Finding Nemo are all great, too. WALL-E is a visionary work that at times is reminiscent of ballet or Charlie Chaplin films, at others is an interesting look at a dystopian society, and at others is just tons of fun to watch. And perhaps the best part of WALL-E and Pixar's other works is that you can enjoy their movies no matter what you expect or look for.

Revolutionary Road dir. Sam Mendes (2008)

Sam Mendes won an Oscar in 1999 for American Beauty, which in many ways is similar to Revolutionary Road, though I would argue that the latter is the better film. Leonardo DiCaprio and Kate Winslet pair up once again and deliver performances of a lifetime to the tune of Richard Yates's classic novel. As we already saw in American Beauty, crazy things can happen in a family. In this case, the couple's desire to be special in the midst of a dull life results in some intense emotional agony, causing domestic chaos to ensue.

The Hurt Locker dir. Kathryn Bigelow (2009)

The Hurt Locker is a unique kind of war movie, which instead of building up to all-out battles focuses on the intensity and visceral nature of the individual on the battlefield. The film follows a group of three soldiers in Baghdad who defuse bombs. Of these three, the most interesting is their leader Sgt. James (Jeremy Renner), whose unique mentality, at times reckless behavior, and bomb-defusing expertise lead the team into some tight situations. The movie is worth watching if even just to appreciate its "realism," but also includes a fine portrayal of a complex character in Sgt. James.

*****

For those who want even more recommendations...

The Next 20

• Amores Perros dir. Alejandro González Iñárritu (2000)
• In the Bedroom dir. Todd Field (2001)
• Hero dir. Zhang Yimou (2002)
• Kill Bill: Vol. 1 dir. Quentin Tarantino (2003)
• Mystic River dir. Clint Eastwood (2003)
• In America dir. Jim Sheridan (2003)
• Eternal Sunshine of the Spotless Mind dir. Michel Gondry (2004)
• The Incredibles dir. Brad Bird (2004)
• Million Dollar Baby dir. Clint Eastwood (2004)
• Tsotsi dir. Gavin Hood (2005)
• Brokeback Mountain dir. Ang Lee (2005)
• Munich dir. Steven Spielberg (2005)
• Little Miss Sunshine dir. Jonathan Dayton & Valerie Faris (2006)
• Letters from Iwo Jima dir. Clint Eastwood (2006)
• Ratatouille dir. Brad Bird (2007)
• Into the Wild dir. Sean Penn (2007)
• Iron Man dir. Jon Favreau (2008)
• Slumdog Millionaire dir. Danny Boyle (2008)
• Gran Torino dir. Clint Eastwood (2008)
• Fantastic Mr. Fox dir. Wes Anderson (2009)

Before you ask... no, I'm not particularly a fan of the LOTR trilogy, and yes, my favorite superhero movie is indeed Iron Man and not The Dark Knight.

Top 5 Movies of 2009 + Oscar Noms

The list of nominees for this year's Oscars was just released. The ceremonies themselves will be on March 7. Below are some of my thoughts and predictions, and at the very bottom of this post is my personal top 5 of 2009.

*****

Best Picture

Nominees: Avatar, The Blind Side, District 9, An Education, The Hurt Locker, Inglourious Basterds, Precious, A Serious Man, Up, Up in the Air

Comments: This year, the Academy decided to expand the field of nominees for Best Picture to 10 as opposed to the usual 5. This was probably due to the outrage that The Dark Knight didn't get a nomination last year. The result of this change is that more movies can now claim the title "Oscar nominee," but at the same time, that title is now less significant. If you want to figure out what the Academy deems the "Top 5," just take a look at the nominees for Best Director, which are in most cases consistent with the nominees for Best Picture.

No huge surprises here, maybe other than the omission of Clint Eastwood's Invictus in favor of The Blind Side. Nice to see District 9 and Up in this list. The more I look at this, though... 10 nominees is just ridiculous. The "niceness" of seeing some movies on the list of nominees doesn't make up for the damage they've done to the honor of getting such a nomination.

You'd have to consider The Hurt Locker a reasonably big favorite here. It has been, by far, the most critically acclaimed movie of the year, and this would be a perfect opportunity to finally honor a film made by a well-deserving woman. Avatar, which won the Golden Globe Award, remains a dark horse, and I'd all but eliminate any movie other than those two from contention.

*****

Best Directing

Nominees: James Cameron (Avatar), Kathryn Bigelow (The Hurt Locker), Quentin Tarantino (Inglourious Basterds), Lee Daniels (Precious), Jason Reitman (Up in the Air)

Comments: A worthy list that probably would have been exactly the same as the list of Best Picture nominees had the Academy not gotten their crazy idea. Kathryn Bigelow must win this. Yes, I am requiring that the Academy give this award to her. Bigelow's ex-husband James Cameron won the corresponding Golden Globe this year, which is unforgivable. I can see a case for Avatar winning Best Picture but absolutely not for Best Directing. If James Cameron wins this award, I might go crazy.

*****

Best Adapted Screenplay

Nominees: District 9, An Education, In the Loop, Precious, Up in the Air

Comments: Up in the Air and it's charming, nicely-paced writing is going to be hard to beat.

*****

Best Original Screenplay

Nominees: The Hurt Locker, Inglourious Basterds, The Messenger, A Serious Man, Up

Comments: This one is tougher to call. I like Tarantino's quirky yet deliberate writing in Inglourious Basterds here. Mark Boal's screenplay in The Hurt Locker also has to be in contention, largely because of the movie that it's in. The Coen brothers' A Serious Man has some... well, Coen-esque writing and could be a dark horse.

*****

Other Awards

Acting: I haven't seen many of these movies, but from what I've read, all four acting awards seem to be locks. Jeff Bridges, Sandra Bullock, Christoph Waltz, Mo'Nique - congratulations.

Animated Feature: Well, I've seen 4 of the 5 nominees. Bummed that Ponyo didn't make it. I'll be rooting for my favorite movie of the year Fantastic Mr. Fox, but realistically, Pixar should score their fifth win here with Up.

Cinematography: Avatar.

Editing: I'd have to go with The Hurt Locker for this one. Really impressive.

Visual Effects: Take a wild guess.

*****

My Top 5 of 2009

1) Fantastic Mr. Fox

2) The Hurt Locker

3) District 9

4) Up in the Air

5) Inglourious Basterds

Honorable mentions: Precious, Ponyo, (500) Days of Summer, Up, An Education

This list may change a little if I see any more movies from last year. Fantastic Mr. Fox and The Hurt Locker were easy choices for #1 and #2, though choosing what order to put them in was difficult. Let's just say that Fantastic Mr. Fox was "my favorite" movie of the year while The Hurt Locker was "the best." Really, really tough choice for the #5 spot between Inglourious Basterds and Precious. I guess this is what it feels like to be the Academy.

******

Coming soon: My top 10 movies of the decade!

More Mini-reviews

Here's another handful of mini-reviews of some of the movies to come out all throughout last year. I have a few more movies I'd like to see before I wrap up with a top five of 2009 list as well as a best of the decade list.

*****

The Hurt Locker

Dir. Kathryn Bigelow (2009)

*****

The Hurt Locker is one of the best war movies I've ever seen and is bound to be a top contender to win the Oscar. It's discouraging that no woman has ever won the Oscar for Best Director or has directed a Best Picture winner. I think this movie is definitely worthy of both prizes, so the Academy better not pass up this opportunity to make history and inspire other female moviemakers. The Hurt Locker is a different kind of war movie and will definitely be interesting for anyone who is interested in modern combat. As opposed to other war movies, which are saturated with disorienting gunfire and explosions, The Hurt Locker instead is a suspense-builder that is constructed with a great precision. The film follows a team of bomb defusers in Iraq. In particular, it focuses on William James (Jeremy Renner), who has such an obsession with defusing bombs that his squad views him as reckless. The combination of the tenseness of bomb defusing, the examination of a character's somewhat twisted psychology, and the details of modern warfare make The Hurt Locker a tough movie to not enjoy. While Fantastic Mr. Fox is as of now my "favorite" movie of the year, I would consider The Hurt Locker the "best" - and yes, there is a difference.

*****

My Rating: A

*****

A Serious Man

Dir. Joel & Ethan Coen (2009)

*****

Everyone seems to mention a "Coen brothers style," but in reality every single one of their movies is so different. After having made movies as strange as Raising Arizona, as uncomfortable as Fargo, and as thrilling as No Country For Old Men, it's hard to know what to expect next from these two geniuses. Their most recent work, A Serious Man, is very personal and also very odd. Right from the start you can tell what kind of movie this is going to be. The story is a modern day version of the book of Job, where everything goes badly for Larry Gopnik (Michael Stuhlbarg). Everything that happens to him is strangely funny after you let the movie settle in. While viewing A Serious Man, though, I had a hard time being able to see where the movie was going. This is a film that is meant to be watched more than once. While I found it enjoyable on my first viewing, I do expect it to be better the second time.

*****

My Rating: B+

*****

Ponyo

Dir. Hayao Miyazaki (2009)

*****

It seems like the animation industry is heading towards going entirely 3-D, so I'm very thankful that we still have Hayao Miyazaki, who is well-loved for his magical style of hand-drawn 2-D animation. His works are all connected by an element of magic, and we have an idea what to expect from him nowadays. Much of his work is deep and mature - like the recent Spirited Away and Howl's Moving Castle. I must say though that I am more a fan of Miyazaki's classic My Neighbor Totoro, which is a much simpler cartoon that is filled from top to bottom with charm. Ponyo has the same simplicity and charm, and so it is unsurprising that I enjoyed it a ton. The story is about a fish named Ponyo who runs away from her family, becomes friends with a human boy, and eventually wants to become a human herself. This is a story that is filled with so much expression (not just in the characters, but also the style of drawing in general), and using 3-D animation à la Pixar or Dreamworks would just not work here. It is probably a lot to hope for, but I hope that Ponyo and Disney's recent The Princess and the Frog will mark the beginning of a 2-D animation renaissance.

*****

My Rating: A

*****

Adventureland

Dir. Greg Mottola (2009)

*****

Greg Mottola, who made Superbad, returns two years later with Adventureland - another coming of age story that replaces the sheer hilarity of Superbad with an extra dose of charm. This movie was kind of marketed as being similar to Superbad, which was a goofy move in my opinion, as the shortage of funniness in Adventureland was definitely much more of a disappointment as it should have been. Putting that issue aside, we're left with a hip "love" story, though in this film the line between "love" and "getting some" is blurry. Perhaps it's exactly this that makes the movie, and especially the ending, a little awkward for me. Both of the lead actors (Jesse Eisenberg and Kristen Stewart) play their roles to perfection, but I don't think the way the characters were written was exactly impeccable. Which stinks because the movie revolves around the contrast between the two characters' lifestyles. Oh well.

*****

My Rating: B-

*****

Precious

Dir. Lee Daniels (2009)

*****

Precious is one of the most powerful movies I've seen in a while - it's mostly devastating but has glimpses of inspiration. The acting across the board is perfect, though the film is largely carried by Gabourey Sidibe as Precious and Mo'Nique as her abusive mother Mary. Life is about as bad for Precious as it can get. She's been the victim of incest and is now pregnant with her second child; she's an outcast at school and at home. However, throughout all of this, Precious displays all of the characteristics that suggest that she can take control of her own future. The film is about turning these hopeful characteristics into actions. Sidibe is perfect in displaying Precious's complex emotional states and really brings the audience into the film. Meanwhile, though Mo'Nique's character seems to be an "antagonist," her character is also the result of a complex set of emotions. Both actresses are bound to get Oscar nominations, and the film is highly worthy of one too.

*****

My Rating: A

*****

Drag Me To Hell

Dir. Sam Raimi (2009)

*****

If you're a fan of the Evil Dead trilogy and miss the old Sam Raimi style before he went mainstream to make the Spiderman trilogy, then Drag Me To Hell will be a nice little treat - though don't see the movie expecting something as crazy as Army of Darkness. Drag Me To Hell has many of those over-the-top moments that ride the border between scary and funny, just like in those Evil Dead movies. However, the main downfall here is that Raimi's attempts to bring the plot together are weak. There is a level of mysticism in Drag Me To Hell that explains why protagonist Christine Brown (Alison Lohman) is being chased by a crazy lady spirit in the first place. However, unlike in The Evil Dead, where the scenes that explain the mystical elements are themselves scary, in this film, those scenes are actually kind of boring and just seem like filler. A subplot involving Christine's career aspirations is kind of fluffy as well. Still, as long as you can get over Justin Long's acting (he should just stick to Mac commercials), Drag Me To Hell is overall a fun experience, and something I recommend for anyone who likes the Evil Dead movies or over-the-top horror in general.

*****

My Rating: B

*****

Coraline

Dir. Henry Selick (2009)

*****

Neil Gaiman's graphic novels are magical, and the expressionist style of 3-D animation that Henry Selick (maker of The Nightmare Before Christmas and James and the Giant Peach) brings to the table is a great fit for Gaiman's Coraline. Overall, I don't think Gaiman's works are meant to be turned into movies, but if a movie must be made, this is probably how it should be done. The film adaptation of Coraline isn't bad, but it doesn't do too much to impress - and I think this kind of thing happens a lot in general when adapting graphic novels into movies. I haven't read the book, but it's often the case (as in Watchmen and Sin City) that a film adaptation tries to be an exact copy of the book, especially since the images are already given. This is unlike adapting a prose novel, where the film director is given a lot more freedom to create his or her own visualizations of the book. Coraline is satisfying in its expressionist visuals and silly style of horror, but I feel that both aspects could have been a lot, lot better. Perhaps a little more of the horror aspect would have been nice.

*****

My Rating: B+

Mini-reviews: Fantastic Mr. Fox, The Princess and the Frog, Up In the Air

It's Oscar season and there are a ton of great movies out now! I've got a lot to talk about but don't plan on writing too much, so here are some quick thoughts.

*****

Fantastic Mr. Fox

Dir. Wes Anderson (2009)

*****

Fantastic Mr. Fox was a riot. Hardcore fans of Wes Anderson or Roald Dahl may take issue with the movie, as it is not exactly made in the typical Anderson style, nor is it quite true to the original book. Fortunately for me, I am not too much of either. One thing that puzzles me is that Fantastic Mr. Fox for some reason seemed to be marketed as a kids' movie (it is not). But anyway, this is the best movie I've seen so far this year, for many reasons. The simplest is that it is straight out fun. The characters are awesome, and the fact that they are all animals makes it even more amusing. The unique style of humor that Wes Anderson adds to his movies fits this film perfectly. Fantastic Mr. Fox is done with stop-motion animation, but somehow the characters' expressions actually look genuine, which is even more impressive because they are animals! George Clooney delivers his lines as Mr. Fox with the slickness and slyness of a fox, and all of the other animals have their memorable moments - from the depression and jealousy of Mr. Fox's son Ash to the hilarious nervousness of the mole Kylie. This is a movie I can watch over and over and over again.

*****

My Rating: A

*****

The Princess and the Frog

It's a Disney movie (2009)

*****

For those of you who, like I, miss the classic-style 2-D Disney animation, this will be a bit of a treat. I never thought that 3-D animation was inherently any better or worse than the hand-drawn 2-D style, so it made me sad when the entire animation industry basically made only 3-D movies in recent years. Anyway, The Princess and the Frog brings a cute new twist to the well-known story, where instead of making the frog human, the kiss makes the human a frog. The voodoo themes of the cartoon seemed mature and I'm surprised that Disney created this movie in the first place, as I can see kids getting really scared from this stuff. I thought the villains were great - one has voodoo powers that result in some pretty crazy scenes throughout the movie; the other is driven more by greed and revenge than by pure evil, which is just about as human as we can expect from a Disney villain. A particular scene towards the end of the movie is one of the best I've ever seen in a cartoon. Unfortunately, The Princess and the Frog has two major downfalls. The first is a kind of identity crisis, where the movie was kind of in between a kids' movie and a grown-ups' movie. Disney usually does a good job making their movies appropriate for all ages, but in this movie, the scenes kind of alternated between ones for kids' and ones for grown-ups', which was kind of awkward. The other was the lack of any memorable songs whatsoever. The songs were made in a kind of New Orleans jazzy style that seemed appropriate considering the setting of the movie, but was probably ultimately a bad move.

*****

My Rating: B

*****

Up In the Air

Dir. Jason Reitman (2009)

*****

Yes, you have probably heard that this movie is about a guy who fires people for a living and flies a lot. So did I before watching this, but before going to see this, I couldn't imagine what the plot could possibly be like. Well, it turns out that just like in Jason Reitman's previous film Juno, the important thing is not necessarily the plot, but instead the premise of the film and the interactions between the characters. I won't get into too much description, since there's some pretty complex character development going on. Overall though, the movie has a great balance between some really interesting themes involving relationships and charming humor of the same type as in Juno. The director himself puts it perfectly. "In one sense, it’s a movie about a man who fires people for a living. In another sense, it’s a movie about a man who collects air miles excessively. In another sense, it’s about a man who meets a woman who’s so similar to him that even though they both believe in the idea of living solo, they begin to fall in love." In short, Up In the Air is a lot like Juno, but - in my opinion - better. Definitely a front-runner for Best Adapted Screenplay.

*****

My Rating: A-

*****

Movies I still would like to watch: The Hurt Locker, A Serious Man, Precious, An Education, (500) Days of Summer, Ponyo, Moon, Coraline

Review: Avatar

Avatar

Dir. James Cameron (2009)

*****

It's been almost a week since I went to see Avatar; I think by now I've got the movie mostly digested and my thoughts ready to share. Now where, oh where do I start in attempting to review this movie that is unlike anything we've seen on a cinema screen before?

First, I should say that if you have not yet had the experience of seeing a movie in 3-D, it is definitely something worth dishing out a few extra bucks to try out. 3-D cinema has come a long way over the past few years. It's no longer gimmicky but instead is now used to make some really great visuals. I'm not so sure 3-D is really "the future" of movies; I don't think it's appropriate for about 3/4 of the movies out there, but Avatar is certainly one of the films that benefits from this technology. Right at the opening shot, you can really see the way 3-D enhances the picture. The third dimension becomes more subtle as we transition from the world of the humans to the world of the Na'vi, but maybe this is all for the better. With all the action going on, we don't want our eyes to start getting sore.

Now, 3-D or not, the visuals and the special effects used to create them are obviously the centerpiece of Avatar. I do appreciate all of the work and money invested into the visual aspect of the movie, and it's clear that there was a lot of attention to detail in creating the jungle world of Pandora. The graphics look about as realistic as they can get given today's technology, but I specifically use the word "graphics" because the movie does still look and feel like a video game. I give credit to the makers of Avatar for using special effects with purpose and rarely inserting the effects gratuitously - this was a relief considering the billions of dollars Hollywood invests into pointless effects when the money could instead be used to feed entire nations. Sadly, not even the most convincing computer graphics in the world can redeem a film that is so inherently weak.

The majority of those who have seen Avatar will hate the rating I give this movie (at the bottom of the review, you can peek), and I'm still trying to figure out if people love this movie despite the plot or because of the plot. Anyway, I will stand by all the opinions about the weaknesses of this film but am always open for discussion. Avatar's plot fails for two reasons: the story is far from engaging, and the world James Cameron creates is uninteresting.

After the impressive graphics, the next thing that stood out to me was how boring the film was. The story had tons of potential but the writing was poor. Are we supposed to care about any of the characters? I didn't find the protagonist Jake Sully (Sam Worthington) interesting at all, and while it's clear that the humans are supposed to be the villains, the Na'vi aren't quite creatures that we can identify with - at least not for the first two hours of the movie. The blue humanoids seem alien and even hostile for much of the film. If none of the characters are interesting, then why should we care about what happens to them?

The first two hours of Avatar are essentially worthless in terms of plot, and perhaps the moment the humans finally issue their ultimatum to the Na'vi might have been a better starting point for the story. The fact that Jake in his human-Na'vi hybrid avatar form must choose between allying with his own human species or with the Na'vi that he's grown to love and respect suddenly makes things interesting. At this point, there would have been potential for a great story, but instead we get a lengthy battle scene. While the war is unique and visually exciting, it is a huge step back from what we're used to - for example, The Lord of the Rings. At the same time, it's pretty ridiculous and hard to believe. Shooting down planes using bows and arrows? That's new.

A mediocre story can be forgivable in fantasy epics, and many of the great films we love have plots that aren't exactly their strong points. But in these cases, the world and the lore created in the movie are far more important than the plot which can perhaps be simplistic (Star Wars), utterly convoluted (Lord of the Rings), or poorly written (Harry Potter). The problem with Avatar is that the world of the Na'vi is equally as boring as the film's plot. There is hardly anything about the world that James Cameron creates that makes me want to purchase Avatar action figures or read fan-fiction spin-offs. With George Lucas's Star Wars world, on the other hand, I will be one of the first to admit that even at this age, a Darth Vader action figure would still be cool.

Avatar is one of the most hyped movies of the year - and rightly so - because of its visuals. I will not hesitate to say that the visuals are impressive and enhance this particular picture, but to call them beautiful might be a little bit of a stretch. Will Avatar mark the dawn of a new era in the special effects business? Arguably. A new era in the moviemaking business? I hope not.

*****

My Rating: C+