Live Oscar Blog-o-Thon!

Throughout the night.... I'll be updating the winners as they are announced. The winners will be in green. If my prediction is wrong, then my pick will be in red, and the actual winner in green.

Best Picture
- Slumdog Millionaire

Best Director
- Danny Boyle for Slumdog Millionaire

Best Lead Actor
- Sean Penn for Milk
-Mickey Rourke for The Wrestler

Best Lead Actress
- Kate Winslet for The Reader

Best Supporting Actor
- Heath Ledger for The Dark Knight

Best Supporting Actress
- Penelope Cruz for Vicky Christina Barcelona

Best Adapted Screenplay
- Simon Beaufoy for Slumdog Millionaire

Best Original Screenplay
- Dustin Lance Black for Milk
- Andrew Stanton, Jim Reardon and Pete Doctor for WALL-E

Best Foreign Film
- Okuribito - Japan
- The Class - France

Best Animated Feature
- WALL-E

Best Art Direction
- The Curious Case of Benjamin Button
- The Dark Knight

Best Cinematography
- Slumdog Millionaire
- The Dark Knight

Best Sound Mixing
- Slumdog Millionaire
- WALL-E

Best Sound Editing
- The Dark Knight
- WALL-E

Best Original Score
- A.R. Rahman for Slumdog Millionaire

Best Original Song
- "Jai Ho"- A.R. Rahman and Sampooran Singh Gulzar for Slumdog Millionaire
- "O Saya" - A.R. Rahman and Maya Arulpragasam (M.I.A.) for Slumdog Millionaire

Best Costume Design
- The Duchess
- The Curious Case of Benjamin Button

Best Documentary Feature
- Man on Wire

Best Documentary Short Subject
- Smile Pinki
- The Witness - From the Balcony of Room 306

Best Film Editing
- Slumdog Millionaire
- The Dark Knight

Best Make Up
- The Curious Case of Benjamin Button

Best Animated Short
- La maison en petits cubes
- Presto

Best Live Action Short
- Toyland (Spielzeugland)

Best Visual Effects
- The Curious Case of Benjamin Button

Oscar Predictions

With the Oscars fast approaching, I'm going to take this time to lock in my predictions.

Last year I was 50% (it was my best score in 5 years). These are nothing more than educated guesses. Also, for what it's worth, I went only 25% with last year's sports championships (my only correct pre-playoff pick was NBA, and I went all the way with Celtics taking the Lakers).

I listed out the nominees for the major categories, my pick in green.

Best Picture
- The Curious Case of Benjamin Button
- Frost/Nixon
- Milk
- The Reader
- Slumdog Millionaire

Best Director
- David Fincher for The Curious Case of Benjamin Button
- Ron Howard for Frost/Nixon
- Gus Van Sant for Milk
- Stephen Daldry for The Reader
- Danny Boyle for Slumdog Millionaire.

Best Lead Actor
- Richard Jenkins for The Visitor
- Frank Langella for Frost/Nixon
- Sean Penn for Milk
- Brad Pitt for The Curious Case of Benjamin Button
- Mickey Rourke for The Wrestler

Best Lead Actress
- Anne Hathaway for Rachel Getting Married
- Angelina Jolie for Changeling
- Melissa Leo for Frozen River
- Meryl Streep for Doubt
- Kate Winslet for The Reader

Best Supporting Actor
- Josh Brolin for Milk
- Robert Downey Jr. for Tropic Thunder
- Phillip Seymour Hoffman for Doubt
- Heath Ledger for The Dark Knight
- Michael Shannon for Revolutionary Road

Best Supporting Actress
- Amy Adams for Doubt
- Penelope Cruz for Vicky Christina Barcelona
- Viola Davis for Doubt
- Taraji P. Henson for The Curious Case of Benjamin Button
- Marisa Tomei for The Wrestler

Best Adapted Screenplay
- Eric Roth and Robin Swicord for The Curious Case of Benjamin Button
- John Patrick Shanley for Doubt
- Peter Morgan for Frost/Nixon
- David Hare for The Reader
- Simon Beaufoy for Slumdog Millionaire

Best Original Screenplay
- Courtney Hunt for Frozen River
- Mike Leigh for Happy-Go-Lucky
- Martin McDonagh for In Bruges
- Dustin Lance Black for Milk
- Andrew Stanton, Jim Reardon and Pete Doctor for WALL-E

Best Foreign Film
- The Baader Meinhoff Complex - Germany
- The Class - France
- Departures - Japan
- Revanche - Austria
- Waltz With Bashir - Israel

Best Animated Feature
- Bolt
- Kung Fu Panda
- WALL-E

Best Art Direction
- The Dark Knight

Best Cinematography
- The Dark Knight

Best Sound Mixing
- WALL-E

Best Sound Editing
- WALL-E

Best Original Score
- A.R. Rahman for Slumdog Millionaire

Best Original Song
- "O Saya" - A.R. Rahman and Maya Arulpragasam (M.I.A.) for Slumdog Millionaire

Best Costume Design
- The Curious Case of Benjamin Button

Best Documentary Feature
- Man on Wire

Best Documentary Short Subject
- The Witness - From the Balcony of Room 306

Best Film Editing
- The Dark Knight

Best Make Up
- The Curious Case of Benjamin Button

Best Animated Short
- Presto

Best Live Action Short
- Toyland (Spielzeugland)

Best Visual Effects
- The Curious Case of Benjamin Button


Tune in on Sunday for a Live Blog-o-thon as I update you with the winners as they are announced! Fun for all.

Friday The 13th/The International

Friday The 13th

2.5 Stars

I don't think you can call Friday The 13th a "remake" considering a) it cribs more from the original part II than it does the original part I; and b) the franchise has been going pretty consistently for 30 years, it's more of a retelling.

Luckily the song remains the same for Jason and crew in Friday The 13th, which will make the synopsis easy. Group of naive, yet good looking kids stumble upon the remains of Camp Crystal Lake, closed down since Mrs. Voorhees went on a bloody rampage, killing the counselours she felt were responsible for her son's drowning. Only he didn't die, and he's now a grown, very deranged man. Hilarity ensues. And by hilarity, I mean an insane amount of brutal slayings.

I usually take the third paragraph to delve into the acting of the various leads, point out a delightful supporting role. But really, what the hell do you expect from a mediocre remake of a late 70's slasher flick? The chicks were naked, the dudes were douchebags, and massive amounts of alcohol and pot were consumed. I could give you a cast list, but good luck recognizing any of them, unless you're familiar with the WB/CW crowd.

This film was not made, nor should anyone carry the notion that it was, for great performances. When the original came out, it was a 2 hour PSA on the dangers of drug use, drinking and pre-marital sex. Smoke pot? That's a slaying by a crazy guy in a hockey mask. Drink? Disfigured pedophile will invade your dreams and kill you. Pre-marital sex? Escaped mental patient in Shatner mask will stalk and kill you. It had a social commentary that our out of control, hedonistic life styles would eventually, and quite literally, kill us.

This film... leaves that all out. In this new age of horror, where the bloodier, more gruesome, more realistic the killings the better (I believe the term is "torture-porn"), and it went for the proverbial jugular. And while delivering the thrills and bloodlust, it's an empty, shell of a movie. It's sole purpose is to be an exhibition for murder. I'm not here to pontificate on the rightness or wrongness of such existence. But leaving out a message in this kind of movie leaves the viewer with a weird feeling. At least in the Saw franchise there's a message (value your life), however twisted they go about it.

But like I said, one can't deny that it at least delivers on the thrills. If you're going to waste time and money, there's no real better way than Friday the 13th.

The International

3 stars

Clive Owen and Naomi Watts highlight this international political thriller about the global banking system and world arms trade. And how they alledgedly go hand in hand. It's an entertaining little movie, not meant to break new ground, but to explore what's there.

The International spins the tale of Interpol Agent Louis Salinger (Owen) as he works with New York ADA Eleanor Whitman to expose the criminal dealings of International Bank, who alledgedly supplies weapons to third world countries.

This movie reminds me why I initially supported Owen to be the new James Bond a few years back, and makes me glad he isn't. Owen is too rugged for Bond. Too rough around the edges, to blue collar. He almost always looks like he woke up from a night of drinking, which, in my best estimation, is his charm. He brings sort of an everyman quality to his roles. There's rarely a hint of grandeur to his performances (even when playing King Arthur, which wasn't ALL bad).

Director Tom Tykwer finally makes his big American debut, and as expected, it doesn't live up to Lola rennt (Run, Lola Run), but it's a different film geared to a different audience, so I can't be too hard on him for that. But to his credit, it is beautifully shot, with nary a wasted scene.

The unfortunate thing about most movies released January-February is that they will in no way make huge waves in movie making (notable exceptions include The Silence of the Lambs and last year's Cloverfield). They tend to just exist, and the companies behind them have very little faith in their audience draw or general quality. This film doesn't change that. It just kind of is. But what is, is a cut above the general dreg out there.

Push/He's Just Not That Into You

He's Just Not That Into You

2.5 Stars

I did have high hopes for this going in. Greg Behrendt was a stand up I enjoyed (he wrote the source book). It has an impressive cast. But it came across as Love Actually: American Style. Sadly, I was just not into He's Just Not That Into.

Interconnecting stories of love and human behaviour comprise the film based on a bestselling self-help book. Gigi (Ginnifer Goodwin) has trouble reading the dating rituals of men after a mediocre date with Conner (Kevin Connolly) who is also dating Anna (Scarlett Johansson), but she just met and fell for Ben (Bradley Cooper) whose marriage is kinda on the rocks because of his smoking, which his wife Janine (Jennifer Connelly) has made it clear she doesn't like. She works with both Gigi and Beth (Jennifer Aniston), who's longterm boyfriend Neil (Ben Affleck) won't marry her because he doesn't believe in marriage. Oh... and Mary (Drew Barrymore) has relationship issues as far as status unknown. Oh... and Conner's best friend Alex (Justin Long) starts dispensing relationship advice to Gigi.

I felt to best exemplify exactly how I felt about this movie... by providing the synopsis in the most annoying way possible. Which is what this movie amounts to... whiney young rich people annoyingly discussing their love lives. There was no relatability to any of the characters. Sure there were certain aspects that I could relate to. And certainly the situations they were put in are relatable. But the characters, and unfortunately the actors playing them, were just a means to an end. They were incidental. You could play musical chairs with the actor/role and it would have no bearing on the movie. Also... if Jennifer Aniston's biggest problem is Ben Affleck not marrying her... she's on frickin' easy street.

I do not find it hard to believe that people like this exist. What I find it hard to believe that they expect us, the viewing public, to sit in a theatre and say "I totally get Neil," or "I sympathize with Gigi." Like I said, on a basic level, the situations themselves, are relatable, but the essential plot devices are not what you base the movie around. You build from them.

Perhaps had they handed the reins to someone other than the guy who offered us Dunston Checks In. Though to Ken Kwapis' credit, he did a few episodes of "Freaks and Geeks", which is an undeniably great show, which had 18 great episodes, and a grand total of zero bad ones.

I give it kudos for situational relatability, but which is unfortunately hindered by the complete lack of compassion or empathy for the characters. This is one movie that if it wanted to, and even tried, it could have been a great, and a good American Love Actually, which had one thing going for it... characters you actually liked.

Push

3 Stars

Do you remember back a few years ago, there was a great show that was on television... about people with special powers, coming to terms with it. There was a shady organization hunting them down. Normal people paired up with people with powers... "Heroes" it was called. That was a great show. The show that's on now called "Heroes" is a shell of its former self, that is rapidly circling the drain. I bring this up because I want to dispell the comparisons of Push to current "Heroes." Push is what "Heroes" used to be, and should still be. And with that... "Heroes" references end........................NOW

After witnessing the death of his father at the hands of the ruthless Division, Nick Grant (Chris Evans), a mover (telekinetic) has exiled himself to Hong Kong in an effort stay off the radar. Yeah, about that, a super watcher (psychic) predicted he would do this, and that a pusher(force thoughts into one's head), Kira (Camilla Belle), would escape division and seek his help. The daughter of this watcher, another watcher named Cassie (Dakota Fanning) comes to Nick's aid to protect themselves and the pusher from a more powerful pusher/Division agent (Djimon Hounsou), who, incidentally, killed Nick's father.

It clocks in under 2 hours, but it's stilla bout 20 minutes too long. I've never had a problem with long movies. But it had a pacing problem. They could have cut some of the fatty meat from the film and it still would have been good, and most likely would have been better. Director Paul McGuigan has a recurring problem with flow. Lucky Number Slevin had the same problem. Too long due to extraneous scenes. Trim the fat, and it's better.

Sometimes I think I'm the only one who enjoys the work of Chris Evans (Cellular). Sure he's not the next Sean Penn or George Clooney (though considering Penn and Clooney's early filmographies, it's not entirely out of the question), but he's no Keanu. He's a decent actor and at times downright good (see Sunshine). And he proves himself to be a thoroughly comptent and entertaining leading man.

Fanning (Man On Fire) is easing her transition from precocious (and eerily too smart) child star to more mature material. I have a feeling, and am truly hoping she follows the path of Jodie Foster and Ron Howard on transition from child star to A-Lister. We're rooting for you Dakota.

It truly is "Heroes" when it was good, but unfortunately it ends up being a movie that just is. It offers up nothing great. It comes and goes, and won't leave a mark. It just exists for the purpose of existing. It is a feather in no one's cap.

Taken-Frost/Nixon

Taken

3.5 Stars

One man against the criminal (or not strictly criminal) underworld movies are a dime a dozen. Jason Statham tends to star in most of them (though I have this theory that he's really a superhero who refuses to wear a cape). But there's something about Liam Neeson hunting down sex slave traders who have kidnapped his daughter in Paris. It doesn't re-invent the genre, but it certainly upgrades it.

Former spy Bryan Mills (Neeson) relunctantly allows his daughter Kim (Maggie Grace) tour Europe with her friend, Amanda, on the condition she safe. Unfortunately sex slave traders have other ideas, and promptly kidnap the two girls upon their arrival in the city of lights. What's worse is Bryan was on the phone with Kim when it happened. Utilizing his old skills and old contacts, Bryan begins the race against the clock to find his daughter before she is literally lost forever, and takes him on a violent, rage and vengeance fueled romp through Paris.

Neeson is the true highlight of the film. He shows that these solo action ventures aren't just for the young guys like Matt Damon and the aforementioned Statham. And, given his pedigree, he brings a gravitas to a role that could have otherwise been very bland. He doesn't exactly breathe new life into the role that has been routinely played by Harrison Ford (family man trying to get back his family, tell me I'm wrong) for the past ten years, but he does bring a different perspective.

It's hard to believe that it took almost a year to get this in the States (released in France almost a year ago), but Pierre Morel's directorial follow up to 2004's District 13 seems tailor made for the American action film climate. By that I mean the aging hero back in the game, and with Statham and Damon movies doing well, it's a perfect fit. I found the most intriguing aspect of his cinematic eye (on this film, anyway) is his removal of the rose tinted glasses we've been looking through when thinking of Paris. He finds the underbelly, and enhances it in a completly un romantic way.

I felt like I got my money's worth with this film. I was entertained, and glued to my seat the entire time, and really... entertainment goes a long way with me. It's not a game changer, but it is a performance enhancer.

Frost/Nixon

3.5 stars

I had the misfortune of seeing this after the Oscar nominations were announced, after much had been written on it, after much negative had been written on it. One piece by me. I had said "Instead the Academy opted for the generally safe historical dramas. "Nothing against Frost/Nixon, as I have yet to see it, but what could it possibly bring to the filmmaking table that The Dark Knight did not? It's a dramatization of TV interviews. You could pretty much Youtube about half the movie." And in some aspects... I was right. But in some... I was completely not.

As stated, Frost/Nixon is a dramatization of the 1977 David Frost (Michael Sheen)/Richard Nixon (Frank Lagella) interviews, where he, as the film so delicately puts it, gives him the trial he never got. But it is more than a regurgitation of what we could buy in a TimeLife set for the low low price of $19.99 plus S&H. It highlights Frost's personal and professional struggle to get the interviews, and, much in the same way W. did with George W. Bush, humanizes Nixon.

Langella has been heaped with his praise for his portrayal of the fallen President, a role he originated in the stage show. And Langella (Superman Returns) does in fact bring a vulnerability to the character. But overlooked has been his adversary. Sheen (The Queen) brings an intensity and conflict to a character who is a celebrity of his time. And, as per usual, the dynamite performance of Sam Rockwell (Confessions of a Dangerous Mind) has gone criminally overlooked.

The main problem with this film is that while the performances are engaging, as a whole, the film is standard at best. In pure filmmaking terms, Ron Howard (The Da Vinci Code) shows no signs of growth concerning historical drama from his 1995 epic Apollo 13. It doesn't change the game for filmmaking, and isn't a landmark in any respect. It was as I expected. And that was it's detriment. The film didn't wow me.

Go and stay for the performances, but you won't get much else out of this film than what you can catch on YouTube, or PBS if they're feeling frisky.