And the Nomination Goes to...

For a full list of nominations for the 83rd Annual Academy Awards, click here: http://www.oscars.org/awards/academyawards/83/nominees.html

The Oscars, hosted by Anne Hathaway and Best Actor nominee James Franco, will be held on February 27th. 33 days to go -- happy watching!

Golden Globes Recap

Tonight marked the 68th annual Golden Globe Awards, one of my favorite award shows, not only because the stars are able to drink during the show, usually adding an extra dimension to their speeches, but it also manages to combine the best of both film and television in the watchable span of 3 hours. In keeping with the curtailed premise, here’s a quick rundown of the highlights and lowlights of the evening.

1. Ricky Gervais hosts: Never one to shy away from controversy, tonight was no exception of the comedian’s “get over yourself” wit. While some of his jokes seemed to go a bit too far, I’m guessing there was some inner chuckling going on amongst the awkward silences and small boos. However, after commenting on having to help the President of the Hollywood Foreign Press, the group responsible for the awards, off the toilet and popping back in his teeth, I have a feeling he will not be asked back.

In case you missed it, here’s a perfect example of his jaw dropping jeering:
“Also not nominated, I Love You Phillip Morris, with Ewan McGregor and Jim Carrey, two heterosexual actors pretending to be gay — the complete opposite of some famous Scientologists then.”

2. More crowded than a Black Friday sale: True, the stars get to sit at tables and eat and drink and be merry during the awards. Unfortunately this also means that winners have one last job to perform before accepting their award – find their way out of the maze and onto the stage. Whoever designed the seating chart this year should not place bets in Vegas; many of the winners ended up in tables way in the back, taking lengthy amounts of time to get to the stage only to be cut off by the orchestra halfway through their speeches. And what kind of weird world do we live in when Justin Bieber has a better seat than Al Pacino?!

3. And while we are on the subject of strange decisions of the people behind the scenes, who was directing this show? Talk about odd cut aways to stars that were not remotely related to the actor or project being celebrated on stage. If someone famous is reacting to something on stage, then by all means, let the audience see it. However, if the person looks bored, is talking to someone else, is chewing gum (ahem, Johnny Depp), looks utterly confused (Helena Bonham Carter) or has a name similar sounding to something someone says onstage (Claire Dane's "Holla" is not the same as "Halle" Berry, sorry), then by all means, keep the camera on the person talking.
Also, was it really necessary to go directly to Jane Lynch when Annette Bening was awarded best actress for her portrayal of a lesbian? Tacky.

4. Bleeping out does not equal blindness. So a shocked Diane Warren mouthing "Oh shit" during her long walk to the podium does not need to be bleeped out. We can't hear her. Though thanks to you, we can be sure she said something bad with the rapid cut off of music, almost like an emphasis on the curse.

5. Presenters: Obviously there was a hope to sway younger audiences to watch with some of the presenters who would not be there otherwise (Megan Fox, Justin Bieber) but even youth could not bring life to some of the lame prompts given before the final reading of nominations. There were a few exceptions -- mainly in the form of Tina Fey and Steve Carell for best screenplay, and Robert Downey Jr. for best actress in a comedy. Also Michael Douglas, returning after his recent bout of throat cancer, jokingly referred to the applause of his peers by stating, "just gotta be an easier way to receive a standing ovation."

6. The speeches. The highlights for me -
a. Melissa Leo -- for being so endearingly surprised and humble for winning, while still managing to get in a few funny quips.
b. Chris Colfer -- also adorably clueless at the idea of winning, and not only adding humor but a touching "screw that" to bullies that tell kids they can't be who they are or do what they want to do.



c. Natalie Portman -- for calling her fiance and baby daddy the best actor in the world for playing a character in the film that says he would not sleep with her character. "It's not true, he totally wants to sleep with me!"
d. Aaron Sorkin -- for telling his daughter to look around the room and note that "smart girls have more fun".

Overall, not a lot of surprises throughout the night (I mean, did you really think a movie like Burlesque could beat The Kids are All Right?) but still interesting enough to watch, if only to see if Ricky Gervais would be allowed to end the show (he was - though luckily no one seemed to be listening as he thanked God for making him an atheist).

I myself am thanking God that the SAG Awards are less than 2 weeks away, and Oscar nominations will come out January 25th for the Super Bowl of award shows, taking place on February 27th.

What's in a Name Anyway?

Don't let the strange title fool you. Slumdog Millionaire deserves all the awards season hype that has come its way. It is not your typical multiplex feature, to be sure, but it is not so far down the independent trail that the average movie goer will be disappointed.

The story begins with Jamal Malik, an illiterate teen from the slums of Mumbai, being accused of cheating on India's version of Who Wants to be a Millionaire? Through each question that comes up, a flashback to Jamal's troubled childhood with his brother Salim and a fellow orphan, Latika, shows how possible it is for someone so outside of the mainstream world to know the answers.

Having seen the Oscar nominated film Water a few years ago, I was surprised that this film was able to shoot in India, as it does not portray the country in a particularly pleasant light. However, the authenticity of the location lends itself beautifully to the telling of the story. Danny Boyle's (Trainspotting) fast action shots throughout the slums is done masterfully, making full use of the chaos of living in such a place, without jolting the camera too much.

While there is a lot of humor throughout, there is a heaviness to this film, due to the harsh lifestyle the main characters have had to endure. However, the heart of each character shines through, regardless of whatever despicable act they need to perform in order to survive.

The storyline of destiny is weaved intricately throughout, leaving no doubt that what occurs is what is meant to be for each character. In the end, it is a sweet love story full of hope that will resonate with most audience members during these difficult times. At a time when most Oscar contenders are on the downtrodden and somber side, Slumdog Millionaire gives a refreshing note of optimism to lift your spirits and brighten your outlook. Give yourself a boost and seek it out in theaters while you still can.

And the nominees are...

http://www.oscar.com/nominees/?pn=nominees

Cut the Cake Already...

Don't get me wrong, I'm actually a big fan of Anne Hathaway. I enjoyed the Princess Diaries, thought she was great in The Devil Wears Prada, and I even didn't throw a fit when she was chosen to portray my beloved Jane Austen in Becoming Jane. That said, I know that she is talented enough to be nominated for an Academy Award for playing a recovering drug addict in Rachel Getting Married. I just wish I wasn't invited to the wedding.

It's not that this wedding doesn't feel authentic. It does. Perhaps that is the problem. It does feel like you are taking part in a weekend of premarital preparation before watching two become one. Between the overextended wedding toasts to the excruciatingly long rehearsal dinner, you are there to partake in it all, whether you want to be or not. And I, for one, felt more like a prisoner than a guest.

There's not a bad performance in the bunch; this is truly a character study at it's heart. Hathaway plays Kym, sister of Rachel (Rosemarie DeWitt), who has been given a weekend pass from the rehabilitation center she has been attending for the past nine months, to see her big sister get married. Kym is obviously dealing with some tough issues, unable to forgive herself for things she has done in the past while high. This makes you feel slightly sympathetic towards her, though she tries her darnedest to make you hate her. Meanwhile, poor long-suffering Rachel just wants her wedding to be about her for once, instead of everything being about Kym. After spending half an hour with her family, it is no surprise that she is working on a PhD in psychology.

Director Jonathan Demme (The Silence of the Lambs) tries to bring so much authenticity to Jenny Lumet's screenplay, that a good portion of the movie is filmed with hand held cameras. It gives the feel of a home video of the celebrations, true to authentic form, but mostly downright boring. The film is just shy of two hours, but feels longer, due to the unnecessary and strangely placed scene between Rachel's father (Bill Irwin) and her fiancee (Tunde Adebimpe) trying to see who can load a dishwasher the best,and the music video length portrayals of the wedding musicians. Unlike a real wedding, where you can quietly escape once the cake is cut and the couple have their first dance, Rachel's wedding just went on and on and... well, you get the picture.

The best thing to come out of this film is that it finally emerged Hathaway into the world of adult roles. While I highly doubt she will be chosen for the Academy Award, she should feel right at home at the ceremony; not only because she is that level of an actress, but because the program tends to continue on long after the enthusiasm for it has worn off.

The Curious Case of Benjamin Button is at the top of the nomination list for the 81st Academy Awards, and with good reason. The special effects, make-up, and cinematography displayed feels lightyears away from any other recent film. Which is strange for a story that is about such human elements and doesn't involve spaceships or creatures from another planet. Then again, how would one be able to relate at all to science fiction, if there was not that essential element of truth and recognition involved?

The film is adapted from an F. Scott Fitzgerald short story, though despite the main idea, most everything else has been changed. The short story originally takes place in Baltimore and begins with the birth of an adult man well into his eighties who begins to get younger. The film takes full advantage of the latest in visual effects technology to make Benjamin a baby born wrinkled and arthritic like a man of eighty and growing into his body as his looks grow younger. The film also transfers the setting to New Orleans, making use of the post Hurricane Katrina filming discounts, and even using the hurricane as a subplot.

The story begins with Daisy (Cate Blanchett) dying in a New Orleans hospital as her daughter Caroline (Julia Ormond) reads to her from Benjamin's diary. We learn that after his mother dies in childbirth, Benjamin's father (Jason Flemying) is so distraught and disgusted by his mutant looking son, that he leaves him on the front steps of an old person's home, to be cared for by Queenie (Taraji P. Henson). Benjamin fits in here, at least looking the part, although he feels different from all the other tenants. He wants to explore, to play, to be the young child that he is inside, but his frail elderly body restricts him, as does his overprotective "mother."

Benjamin goes on all kinds of adventures that he just happens to fall upon. Regardless, never far from his thoughts is Daisy, who he met as a child when she visited her grandmother at the old folk's home, and who he keeps intertwined with throughout his life. It is a strange and mostly implausible love story, but isn't that almost always the case? Certainly in Eric Roth's screenplays, most notably similar is Forrest Gump. There is no denying that there are A LOT of similarities between Benjamin and Forrest. Most of them I could look past; the use of a humming bird in place of Forrest's feather motif, I could not.

Besides all the CGI effects, the period costumes and look of the locations makes the films almost three hour long time frame bearable. Not to say that the film could not have used more help in the editing department. It is simply too long, and there are several scenes that could have been shortened, if not omitted altogether. One scene in particular that tried to convey a message, but just seemed to relentlessly drag on is one that deals with an accident and all the factors that had to have taken place in order for the accident to happen. Yes, the story would have been different, had it not occurred, but the Groundhog Day stylization of it halfway through the movie was tedious and unnecessary.

There are moments of this film that fill poignant and memorable. The look of the film is beautiful. However, there is a coldness within the story, perhaps due to the director's other works (Se7en, Zodiac), that lacks the warmth this story needs to be a true epic. Instead of learning a new lesson regarding human life and relationships, the film sometimes feels like a discomposure of the message it is trying to portray. Still, for the picturesque qualities displayed, it is worth seeing at the discount theater or on a big screen TV.

"Believe those seeking the truth. Doubt those that find it."

There is no doubt that Doubt will be a heavyweight when it comes to this year's awards season. The film, directed by the author of the play it is based on, John Patrick Shanley, is the telling of life within the cloistered walls of a Catholic school in the 1960's and what happens when a priest is accused of giving "special" attention to the school's only African-American student.

Meryl Streep proves to once again be the queen of accents as Sister Aloysius, the no nonsense principal of the school. She is the kind of nun that gives shudders to those brought up in the parochial schools of yesteryear. Her counterpart, Sister James (Amy Adams), is young, intimidated more than intimidating, and more than willing to ease up on the ancient rules and allow some of the secular culture of the times inside.

That world comes through soon enough when Father Flynn (Philip Seymour Hoffman) is noticed giving special attention to altar boy Donald Miller (Joseph Foster II). What follows is Sister Aloysius's one nun crusade to have Father Flynn removed from the school, regardless of her lack of evidence as to the exact nature of the relationship between priest and student. In a conversational scene between Sister Aloysius and Donald's mother, Viola Davis proves that when it comes to Oscar nominated performances, sometimes it is not the amount of screen time you have, but what you do with it. It is one of the most powerful and heartrending scenes I've ever encountered on the big screen.

That said, this is a hard movie to digest and recommend. It is not only the uncomfortableness of the subject matter, but the way in which it is presented. No clear answers are given, one is able to make their own judgements, and undoubtedly will. There is a reason Shanley's play won the Pulitzer Prize; it is thought provoking, engaging, and highly well written. While the look and design of the film help bring the decade it represents to life, it is more for the performances that makes this a film worthy of watching.

Golden Globe Nominations

Here are the list of nominations for the Golden Globes, airing on January 11th. Last years awards were announced by press conference, due to the Writer's Strike. Let's hope the current negotiations with actors runs smoothly so the show does go on this year.

Drama: "The Curious Case of Benjamin Button," "Frost/Nixon," "The Reader," "Revolutionary Road" and "Slumdog Millionaire."

Comedy or musical: "Burn After Reading," "Happy-Go-Lucky," "In Bruges," "Mamma Mia!" and "Vicky Christina Barcelona."

Director: Danny Boyle ("Slumdog Millionaire"), Stephen Daldry ("The Reader"), David Fincher ("The Curious Case of Benjamin Button"), Ron Howard ("Frost/Nixon") and Sam Mendes ("Revolutionary Road").

Actor in a drama: Leonardo DiCaprio ("Revolutionary Road"), Frank Langella ("Frost/Nixon"), Sean Penn ("Milk"), Brad Pitt ("The Curious Case of Benjamin Button") and Mickey Rourke ("The Wrestler").

Actress in a drama: Anne Hathaway ("Rachel Getting Married"), Angelina Jolie ("Changeling"), Meryl Streep ("Doubt"), Kristin Scott Thomas ("I've Loved You Too Long") and Kate Winslet ("Revolutionary Road").

Actor in a comedy or musical: Javier Bardem ("Vicky Christina Barcelona"), Colin Farrell ("In Bruges"), James Franco ("Pineapple Express"), Brendan Gleeson ("In Bruges") and Dustin Hoffman ("Last Chance Harvey").

Actress in a comedy or musical: Rebecca Hall ("Vicky Christina Barcelona"), Sally Hawkins ("Happy-Go-Lucky"), Frances McDormand ("Burn After Reading"), Meryl Streep ("Mamma Mia!") and Emma Thompson ("Last Chance Harvey").

Supporting actor: Tom Cruise ("Tropic Thunder"), Robert Downey Jr. ("Tropic Thunder"), Ralph Fiennes ("The Duchess"), Philip Seymour Hoffman ("Doubt") and Heath Ledger ("The Dark Knight").

Supporting actress: Amy Adams ("Doubt"), Penelope Cruz ("Vicky Christina Barcelona"), Viola Davis ("Doubt"), Marisa Tomei ("The Wrestler") and Kate Winslet ("The Reader").

Animated film: "Bolt," "Kung Fu Panda" and "Wall-E."

Screenplay: Simon Beaufoy ("Slumdog Millionaire"), David Hare ("The Reader"), Peter Morgan ("Frost/Nixon"), Eric Roth ("The Curious Case of Benjamin Button") and John Patrick Shanley ("Doubt").

Foreign-language film: "Gomorrah," "I've Loved You So Long," "Waltz with Bashir," "The Baader Meinhof Complex,: and "Everlasting Moments."

Original score: James Newton Howard ("Defiance"), Alexandre Desplat ("The Curious Case of Benjamin Button"), A. R. Rahman ("Slumdog Millionaire"), Hans Zimmer ("Frost/Nixon") and Clint Eastwood ("Changeling").

Original song: "Down to Earth" from "Wall-E," "Gran Torino" from "Gran Torino," "I Thought I'd Lost You" from "Bolt," "Once in a Lifetime" from "Cadillac Records" and "The Wrestler" from "The Wrestler."

Television

Best TV comedy series: "30 Rock," "Californication," "Entourage," "The Office" and "Weeds."

Best TV drama series: "Dexter," "House," "In Treatment," "Mad Men" and "True Blood."