TV Heaven: All Time Top Ten [ #4 - #2 ]

#4 - Big Brother (2000-Present)
Starring: Davina McCall, Marcus Bentley, Helen Adams, Brian Dowling, Nadia Almada, Nicholas Bateman, Jade Goody, Kate Lawler, Shell Jubin, Anthony Hutton

This reality TV show, which began in 2000, puts twelve "everyday" people in a house for two and a half months and lets them live together largely in the way they see fit, which is altogether fairly restlessly in truth. Full of an absurd variety of people, from very different backgrounds, the inhabitants are undoubtedly set up to feud, but no more than theoretically, and things are rarely that simple. Whether it be about food, hygeine, or bad habits, the way in which people "deal" with a situation (or not so in some cases) can be both revealing and gloriously entertaining. Throughout the years the winners of this show have been a scowse builder, a gay Irishman, a blonde party girl, a 30-Something Virgin, a Portugese transvestite, and a Geordie lad. That tells you something.

What's truly great though about Big Brother is that it divides a nation of people. It provides a topic of conversation and area of debate. There are always people you root for, and whoever that may be usually tells you something about the type of person that you are. There may be people saying this is not reality, but if that is indeed the case, then I would ask: what is?

#3 - Absoloutely Fabulous (1992-Present)

Starring: Jennifer Saunders, Joanna Lumley, Julia Sawalha, June Whitfield, Jane Horrocks

Ridiculing the obsessive world of PR and fashion, writer and Actress Jennifer Saunders created Absoloutely Fabulous when I was just 5 years old. Still, this show appeals to my humour, my interests, it's one-liners a treat, its family dynamic outrageously funny. The programme arrived at a time where much of its satirical subject begins, and materialism that is denounced even today, evident in things such as Pink's 'Stupid Girls' video.

The insensitivity of the characters and constant desire to be at the height of social status is consistently hilarious, with actions that exaggerate these tendencies. The show has characters that are played to perfection by its stars to the extent where I can barely choose between Saunders' Edina, Lumley's Patsy, Sawalha's Saffy, or Horrock's unique Bubble. There will always be a place in my heart for this programme, and its unrelenting assault on modern culture.

#2 - Friends (1994-2004)

Starring: Jennifer Aniston, Lisa Kudrow, Courteney Cox, Matthew Perry, Matt Le Blanc, David Schwimmer

What more do I need to say? Consistency. Consistency. Consistency. Throughout the ten series of this brilliant show, the jokes are always of a considerably high standard, the actors have great chemistry, the stories are as inspired, and it continues to flourish as one of the most iconic shows to have ever graced a small screen.

Possibly the most believable element in Friends is the bond between the six, and how comfortable they are around each other. It is a credit to this incredible ensemble that it feels continually natural despite being frequently wacky. The writers also deserve tremendous credit for creating characters that are humanly flawed, and that are explored to the depth that they are. In the final episode, I felt like it was the end of an era. There was a tear in my eye. Honest.

Number 1 Coming Soon. Any Ideas? =)

Lyric of the Day

"There are explosive kegs between my legs"

Everybody go out and buy Morrissey's new album. Now. If you haven't already.

TV Heaven: All Time Top Ten [ #7 - #5 ]

#7 - Bad Girls (1999-Present)

Starring: Jack Ellis, Debra Stephenson, Claire King, Danielle Brent, Helen Fraser, Victoria Alcock, Kika Mirylees, Tracey Wilkinson, Kerry Norton, Kate O’Mara, Alicia Eyo

Set in a prison, Bad Girls is about the dynamic within, and particularly the relationship between the "Screws" and the "Cons". Think of Bad Girls as a boxing ring, where the weak perish and only the toughest survive. You can rest assured that every person who breaches those iron bars will be tested one way or another, in time. Even with its sometimes vile temperament (though not a patch on reality I'm sure), watching these women scheme, lie, and stab each others backs (sometimes literally) is incredibly entertaining. There's nothing better than a catfight, right?

#6 - Shameless (2004-Present)

Starring: Ann-Marie Duff, David Threlfall, James McAvoy, Maggie O’Neill, Jody Latham, Gerard Kearns, Dean Lennox Kelly, Maxine Peake, Jack Deam, Rebecca Ryan

The most recent of my choices, and therefore the least amount of episodes I've watched of the entire ten. However, I instantly fell in love with its appeal. Based on a Manchester Council Estate, it follows the trials and tribulations of the Gallagher's, a working class family.

Entitled Shameless, (a perfect title because it sums up the extremes of working class life) the programme uses a mix of drama and comedy to illustrate the dilemnas (not necessarily lesser, but different) that affect different types of people. Led by clever writing, and genius comic timing from a promisingly young cast, Shameless is a riot.

#5 - Murder, She Wrote (1984-1996)

Starring: Angela Lansbury, Tom Bosley, Ron Masak, William Windom

Perhaps an odd choice on paper but I don't care. From a very early age I became obsessed with murder mystery - Agatha Christie, Cluedo etc. But from the moment I was first introduced to that catchy melody, my infatuation reached new levels.

I guess what interests me is how an ordinary person can be driven to commit murder, and the intricacy with which the crime is solved. Angela Lansbury really makes the show, giving Jessica Fletcher the personality and presence of a hawk. A delight.

Numbers 4 to 2 coming. Nearly there :)

URGENT NEWS: New Marie-Antoinette Trailer

Oh. My. God.

The new Marie-Antoinette trailer is out and it's even more amazing than the first one. Again it's New Order, and I actually love how they're making no attempt to speak in a French accent whatsoever. Did I mention I love Sofia Coppola?

See it in all its tremendous glory here . It really is mouth-watering. The even greater thing, its UK release date has been set to September 9th.

Woooohoooo! I don't know the last time I was this excited about a film. Hurry up 2006.

TV Heaven: All Time Top Ten [ #10 - #8 ]

#10 - ER (1994-Present)

Starring: Maura Tierney, Goran Visnjic, Mekhi Phifer, Parminder Nagra, Linda Cardellini, George Clooney, Noah Wyle, Anthony Edwards, Laura Innes, Sally Field, Scott Grimes, Sheri Stringfield

ER is one of those programmes that gets by on its frenetic pace, both in terms of internal medical analysis, and quickly accelerating plotlines. There is always something to discuss, whether it be a doctor's dilemna, a patient's dilemna, or how good George Clooney looks in his uniform. Regardless of a sense of plotline familiarity from time to time (what other TV show doesn't have that), there have been some superbly memorable episodes throughout its several series. They also know how to mix things up. Episodes have ranged from jaunts to the Congo, to flood rescues, to the real-time final hour of liver patient Ray Liotta's tired life. It is a credit to the writers that its characters and plot strands feel as fresh as they do after such a long time.

The ensemble have been of a dramatic high standard throughout, with mentions to Noah Wyle, Laura Innes, Linda Cardellini, and particularly Maura Tierney, who has mastered her very difficult arc throughout many series'. Her fractured mind outside of work is indicative of ER's continual message that things can't be taken at face value.

#9 - Only Fools and Horses (1981-2003)

Starring: David Jason, Nicholas Lyndhurst, Lennard Pearce, Buster Merryfield, Roger Lloyd-Pack, John Challis, Sue Holderness, Gwyneth Strong, Tessa Peake-Jones

Perhaps lower on my list than I expected is the long-running sitcom Only Fools and Horses. This sitcom is one of the finest, telling the story of down-on-their-luck family in Peckham, who get by by trading stolen junk and selling it down the market.

The family dynamic within Fools is perfect, with Del Boy (Jason) the head of the household, living with younger brother Rodney and their Grandad, in a council flat. Although the actor who played Grandad, Lennard Pearce, died after a couple of series' the dynamic remains the same with navy war veteran Uncle Albert (Buster Merryfield). The great thing about their relationship is that although Del holds the cards in both the financial and manipulation stakes (their mother died when Del was a boy), he is dependent upon the others in a way that is true of families to this day.

Watching these two pretenders is great value, with David Jason a particular standout as the ambitious Del Boy, bringing all of his charisma and spice to a role that, while generous, needed to be grabbed hold of. Nicholas Lyndhurst is also very good throughout, and when called upon for more dramatic acting, delivers in earnest. Of course the comedy value plays the most major part, and there has been a fair few hilarious madcap moments that will always be etched in my memory. Whether it be through their belonging, trust, or faith, Del Boy and Rodney find themselves in these situations because they want to better themselves, something we can all relate to.

#8 - Coronation Street (1960-Present)

Starring: William Roache, Elizabeth Dawn, Helen Worth, Jean Alexander, Barbara Knox, Anthony Cotton, Vicky Entwistle, Beverley Callard, Johnny Briggs, Amanda Barrie, Ian McKellen, Anne Kirkbride, Tina O’Brien, Julie Goodyear, Suranne Jones

This is the only soap opera in my Top Ten, and in any case no other soap opera could ever touch it. This is the pinnacle in drama, comedy, longevity and reality. For 46 years now (can any other show say that?) Coronation Street has wowed, touched, demanded the utmost attention, garnering consistently high ratings throughout its five decades. Still with original cast members, it stands alone as a lofty benchmark for others to reach.

Most recently, while rival shows launched a no-holds-barred onslaught of drama, Coronation Street has mixed it up a little, balancing its darker elements with a light humour. This works wonders, taking little away from the harsher realities but imprinting its own style that is evidently missing in the work of its competition. Recent storylines including the serial killer Richard Hillman's massacre, and Maya's psychotic jealous revenge against her ex-husband Dev have been inspired. I am convinced that the Street will be here for another 45 years, and who knows? Maybe even longer.

Freaky Hills

What is it with big-budget horror and missing children? Every other film these days seems to chart a mothers struggle to retrieve her missing son or daughter. Whether it be Naomi Watts, Jennifer Connelly, Julianne Moore, Jodie Foster, or indeed, this time out, Radha Mitchell, caught in the large-scale game of hide and seek, the outcome hardly varies a great deal.

It's a similar kind of idea with Silent Hill, one of the increasing number of movies adapted from a computer game. Rose Da Silva (Radha Mitchell) travels to ghost town Silent Hill in search of a cure for daughter Sharon (Jodelle Ferland), who suffers from seizures and repeatedly mentions the place in her sleep. But when Rose crashes her car on the way, she awakes to find daughter Sharon nowhere to be seen, and so makes her way on foot into Silent Hill in search.

This small to big-screen adaptation is considerably more successful than that of previous attempts such as 'Resident Evil' and last year's 'Doom'. It is a credit to director Christophe Gans that Silent Hill never feels anything other than fresh, with a visual definition that almost effortlessly draws your attention. With the visceral nakedness of a soul stripped bare, Silent Hill is a solitary vacuum of severity, that uses its astonishing atmosphereric harshness to great effect.

When comparing the story of Silent Hill to that of its video game counterparts, it does have that familiar supernatural quest concept, but it's the boldness and vastness of its narrative puzzle that truly distinguishes it from many in the horror genre. Provoking questions with its intricate, somewhat unexpected plot turns, it does sacrifice a significant amount of clarity. Not having played the game, I'm unsure as to whether the story is less muddled whilst playing. Regardless of that, the film's sudden bursts of speed do tend to be more distracting than involving.

Radha Mitchell's attempts at manoeuvring her familiar desperate mother role are more than respectable, although she offers little more than the women before her. Her role is most certainly more confrontational and fantastical, but she gets much more help from her director than any of the other actresses received. The real stand-out of the film is Jodelle Ferland as the damaged daughter. Her shift in emotion and indeed personas is pitched clearly, with an immaculate precision that diverts the film's tone and focus with a single glance.

Silent Hill, while not the easiest of films to comprehend, works well simply because it's made well. Everything from the balance and tone, to the editing, is composed exactly as intended, and consequently, it's a brave, authentic and exciting piece of cinema.

As creepy as Silent Hill looks and feels, it doesn't have what Alexandre Aja's hills have - eyes. Yet another horror remake, this one from Wes Craven's 1977 film of the same name, The Hills Have Eyes is the story of a family on holiday in the West of America. When they're advised to take a short cut, their camper van goes off the road, leaving them stranded in deserted valleys, at the prey of cannibal nuclear victims.

Sitting alone (that's right, alone) in the cinema watching The Hills Have Eyes is a terrifying experience. In fact, it might just border on traumatic. Aja shoots the film as if we were still in the 70's, (and for a horror film, that's a compliment) with lots of traditional sequences and symphonies, giving the film an eeriness that, had it been modernised, probably would have been absent. Aja imprints his own slant on the film, while not fiddling too much with Craven's methodology.

It is perhaps the harsh reality within the story that makes The Hills Have Eyes particularly effective though. There is a scene in the middle of the film in which several characters die that I find difficult recounting as it repulsed and touched me to such a degree. While emotively convincing and rather brutal, the dynamic of the family is perhaps the most worrying aspect of the film. Horror films rarely take such time over their characters but when Hills attempts to, it does so in a shallow and ironically pedestrian fashion. The sense of political compromise between the republican father and democrat son-in-law being a particular indication that character studies should perhaps be left to films with a more profound purpose. Nevertheless, they are believeable as a unit.

Emilie De Ravin, of TV show 'Lost' fame, puts in a good performance, and has the more showier trauma scenes. It is Dan Byrd though, as son Bobby, that really shines, etching alone the sense of loss and desperation at the helplessness of the entire situation. The Hills Have Eyes is difficult to sit through, and for that it really must be sat through. It is a horror in every sense of the word, and is unashamedly heavy, weighing down everyone around it with an unrivalled onslaught. Relentless.

Silent Hill - Grade: B

The Hills Have Eyes - Grade: B-

TV Heaven: The Cream of the Crop

With the return of intriguing castaway drama 'Lost' a matter of days away, it's got me thinking about programmes I watch/have watched religiously. As an avid fan of lists, I've therefore taken it upon myself to reflect on TV programmes, old and new, in order to create an all-time Top Ten favourite list.

Before the Top Ten (which by the way is brilliantly inspired), I'll take this moment to mourn the shows that didn't quite manage a placing:

Honourable Mention #1

Dad's Army (1968-1977)

Starring: Arthur Lowe, John Le Mesurier, Ian Lavender, Clive Dunn, John Laurie, James Beck, Arnold Ridley, Bill Pertwee, Frank Williams, Edward Sinclair

From the moment Arthur Lowe's absurdly bumbling Captain Mainwaring occupies the screen, armed with a lack of dynamism and wishy-washy Toff English eccentricity, Dad's Army is a delight. Satirising the traditionalism of Britain; it's naive, over-thought, one-dimensional attitudes and methods, Dad's Army represents, in part, an era in which much was achieved. Watching these men exercise their 'Britishness' in such a way is thoroughly engaging, led by an ensemble that largely understates when cliché could easily have been descended upon.

Honourable Mention #2

Desperate Housewives (2004-Present)

Starring: Teri Hatcher, Marcia Cross, Felicity Huffman, Eva Longoria, Nicolette Sheridan, James Denton, Alfre Woodward, Ricardo Chavira, Mark Moses, Andrea Bowen, Doug Savant, Cody Kasch, Jesse Metcalfe

In similar style to DA, recently acclaimed show Desperate Housewives uses satire as its main instrument. With an artificiality that spreads from the characters, to the set design, to the many sub-plots, Housewives weaves a web of deceit and manipulation, while remaining an essentially comic piece. What really makes this show worth watching though, is the performance of its four leading ladies. Cross, Huffman, Hatcher, and Longoria accentuate their characters flaws to similarly lengthy degrees, delving into their strengths and weaknesses in keeping with the frank and fluffy tone that we have come to know and love.

Honourable Mention #3

Pop Idol (2001-2003)

Starring: Simon Cowell, Pete Waterman, Nicki Chapman, Neil Fox, Will Young, Gareth Gates, Darius Danesh, Zoe Birkett, Rosie Ribbons, Michelle McManus

Let me make this perfectly clear. I mean 'Pop Idol'. Not 'Popstars'. Not 'The X Factor'. Pop Idol.

When Pop Idol first burst onto our screens in 2001, there had only previously been one reality talent show of this ilk, 2000's Popstars, which gave birth to the short lived band Hear'Say, but let's not get into that. Armed with a set of judges that had everything: Dr Fox had personality, Nicki Chapman had appeal, Pete Waterman had eccentricity, and Simon Cowell had.. well.. what Simon Cowell has. No imitation of this talent show will ever eclipse the feeling of jubilation at the end of Series 1, when Will Young emerged from massive underdog to beat teen hearthrob Gareth Gates in a vote that totalled just under 10 Million in all. Please bring it back. Its copycat cousins just aren't quite the same.

Ok. That's the honourable mentions done. Stay tuned for the Top Ten, which will begin later on.

And So It Begins...

Woohoo! And we're off again. My First Oscar Predictions of 2006 can be located here . Here's to a better year this time around. (Especially for Kirsten and Sofia)

Oscar in Retrospect: 1988 - Best Actress In A Leading Role

Inspired by StinkyLulu's Supporting Actress Sundays, an Oscar category that has had plenty to query in the last few years (Rachel and Catherine excluded), I've decided to look back on random oscar categories from the past that I've found particularly interesting. First up is 1988's quality line-up in the 'Actress In a Leading Role' category. If you don't have a photographic Oscar memory, here were the contenders and their awards, listed in my order of preference:

1. Glenn Close (Dangerous Liaisons)

Role - The Devious Marquise de Merteuil, who schemes with her ex-lover to seduce and destroy various victims in 18th Century France.

Other Awards - BAFTA (Nominee)

Performance - Superbly cunning. Gloriously bitchy. Adds so much underlying history and intention to the character, and uses the mood of the piece to her own benefit.

Result - Lost

2. Meryl Streep (A Cry In the Dark)

Role - Lindy Chamberlain, accused of the murder of her own baby after claiming it was taken by a dingo in the Australian outback.

Other Awards - AFI, Cannes, NYFCC (Winner), Globe (Nominee)

Performance - Very close to Close ;) Streep's genius is in creating this cold and distant character, while remaining distinctly acknowledgeable as a mother.

Result - Lost

3. Jodie Foster (The Accused)

Role - A rape victim, who takes on her attackers in the courtroom, with the help of a female prosecutor.

Other Awards - Globe, NBR, KCFCC (Winner), BAFTA (Nominee)

Performance - Excellent as a strong and desperate woman. A baity role that has become familiar (I'm thinking Theron in North Country here), but this is the finest attempt, and the most original. Even though she's not my favourite, this is a very good Best Actress winner.

Result - Won

4. Melanie Griffith (Working Girl)

Role - An ambitious secretary who sets her sights on big business after her dynamic boss has to go into hospital for two weeks.

Other Awards - Globe (Winner), BAFTA (Nominee)

Performance - Drives the film with her excellent tone and timing. A convincing ditzy blonde that knows her place in life, much like La Witherspoon's divine example in Legally Blonde.

Result - Lost

5. Sigourney Weaver (Gorillas in the Mist)

Role - Dian Fossey, a scientist visiting Africa to study mountain gorillas, develops a bond with them, and later fights for their protection.

Other Awards - Globe (Nominee)

Performance - Very good for a fifth spot. A touching performance, but just lacks the range and punch of the other four. She should have won the supporting category.

Result - Lost

Other Contenders I've Seen:

Susan Sarandon (Bull Durham)

Role - A baseball groupie, whose affair with two minor-league players creates a comic love triangle.

Other Awards - Globe (Nominee)

Performance - Excellent and worthy of a nomination. A charming and infectious example in comedy acting.

Jamie Lee Curtis (A Fish Called Wanda)

Role - A devious thief who will stop at nothing to get what she wants.

Other Awards - BAFTA, Globe (Nominee)

Performance - Hilarious. Does the ultimate best with her role, but perhaps gets outshone by other actors, particularly Kevin Kline.

OK. So that's 1988 done. What a great year. Let me know if you agree, or vehemently don't.

Originality, Where For Art Thou?

On Friday, I saw 'She's the Man', a teen movie adaptation of William Shakespeare's 'Twelfth Night'. It's been a while since I first read 'Twelfth Night' at school and (as Keira Knightley might put it) swore to loathe it for all eternity. I was intolerant to its incessant meandering romance and infuriating flakiness. Since then I've warmed to it, thanks largely to 1998's Oscar-winning Shakespeare In Love , which uses many of WS' fine works and remains one of the most intelligent and insightful screenplays in recent memory. It's rare that a film and its ensemble can be so totally in control of its mood and tone in a way that's involving rather than mercilessly repellent.

Most certainly the finest example of a Shakespeare-based teen movie that I have seen, is 1999 version of 'The Taming of the Shrew', Gil Junger's Ten Things I Hate About You . As well as being very entertaining, it contains an emotionally packed and utterly tireless turn from the revelatory Julia Stiles as the shrew, Catarina Stratford. Perhaps the adoration that I have for this film was always going to put 'She's the Man' at a comparative disadvantage. Nevertheless, I do maintain that this most recent of adapted offerings instigates rather more concerning results.

If anybody isn't quite familiar with the plot of 'Twelfth Night' it's too complicated for me to explain right now. But basically, Viola, played by teen TV star, Amanda Bynes, impersonates her twin brother Sebastian (sideburns, the full works) after her school soccer team is cut. But in a bid to get close to her beloved sport she ends up picking up another passion in life, Duke Orsino, the captain of the team.

Bynes, a breakout performer from sketch show 'All That', is hardly my favourite of the recent teen phenomenon (Duff, Lohan etc.) and is an actress I found detestable in truth. What a pleasant surprise it was then to find Bynes incredibly suited to her gender-balancing role. Using all of her goofy and blatant humour, she absorbs the transparent naivety of Shakespeare's love triangle, feeding on her character's variety in a way that contrasts those before her, such as Paltrow and the aforementioned Stiles. Although her task is perhaps easier, in the sense that it allows her the freedom to be particularly intentional, she drives the film as best she can under the circumstances.

When attempting to adapt the massively read play into a modern-day marvel, as Junger did in '99, is where this particular stab fails to pierce beyond even the flimsiest of surfaces. Where 10 Things embraced teen culture and its shallow, black-and-white mirage, 'She's the Man' flounders under its soccer semantics, so obsessed with delivering its mechanical outline so satisfyingly. It wastes opportunities to capitalise on gender-based flaws, and fails to generate any real concern for the goals of the characters. A real shame.

What can be said for this particular Shakespeare imitation is that it at least attempts to reference the original, although sometimes perhaps too faithfully. Still, there's something admirable about its careful mirroring of the play. The matching twists and plot turns involved in the creation of the romantic comedy patent. Regardless of this, 'She's the Man' is most definitely an unsuccessful attempt to modernise this particular love triangle. Shakespeare won't be turning in his grave just yet, but he's probably beginning to wonder if people will ever tire of his work. It's not looking likely.

Grade: C-

The Star or the Country Girl?

Finally finally finally I get to see what all the fuss is about and form my own opinion about who should have won the 1954 Oscar for Actress in a Leading Role. Not to disrespect or disregard the other performances of this year, but this particularly race has historic relevance.

Although the academy do not release the amount of votes each nominee received (they never have done), rumours have surfaced that there were just eight votes in it between these two, with Kelly emerging victorious. Of course it's impossible to know for sure, but I really feel, as an Oscar fanatic and fan of these two ladies, have a thorough standpoint on this.

The two films arrived this morning in the mail, and I will see one of them tonight and one of them tomorrow night. I can't wait!

What's Hot: Music

It's that time of year once again. The time of the year when men don tight shirts (ooh la la), women wear feather boas, and all the colours of the world are on display. Yes, you've guessed it. The campfest that is known as the Eurovision Song Contest, taking place this year on May 20th.

The even more exciting news? The UK actually has a half-decent entry. Total unknown thirty-something Daz Sampson's rap track, 'Teenage Life', features schoolgirls who sing the chorus and dance around desks in their uniform. Despite being rather pervy -- oops, I mean, 'suspect', the tune is actually rather catchy in a weird sense. It also has admirable messages, but it's Eurovision so who on earth gives a damn what the songs mean?

Nevertheless, this makes my current ITunes Top Ten:

1. The Beatles - Something (NE)
2. Madonna - Human Nature (NE)
3. Don Mclean - Vincent (NE)
4. The Cranberries - Zombie (NE)
5. Madonna - Dear Jessie (U1)
6. Anthony and the Johnsons - River of Sorrow (D5)
7. Pink - Stupid Girls (D2)
8. Daz Sampson - Teenage Life (NE)
9. Westlife - Uptown Girl (NE)
10. Sinead O'Connor - Nothing Compares to You (NE)

Vera

I think it's about time that I profess my new-found adoration of the super talented Vera Farmiga . By the way -- don't you just love the colour of her eyes? A stunning bluish teal.

Thirty-two year old Vera was relatively unknown until last year's LAFCA win for Down to the Bone, a film in which she plays a young mother caught in her cocaine drug addiction. Although the film lacks sufficient effect and fees distinctly underdeveloped, Farmiga's portrayal is very believeable, and represents the film's entire appeal.

Moving onto this year, my first movie of 2006 was Running Scared, a painfully awful film led by the woeful leading performance from Paul Walker -- thank god he has something else going for him besides acting eh? As you may have guessed, the film is saved by Vera's sheer brilliance, even in the most hideously written scene regarding paedofilia, she manages to make it mildly believable.

With my 2006 Oscar Predictions coming up, there is plenty to look forward to regarding this promising lady. A sufficient role in Scorsese's new one, The Departed at the top of that list. She also stars in Anthony Minghella's new film too, alongside Jude. As a late starter, so to speak, her early success will hopefully only continue.

Good luck Vera.

Goodbye 2005

Whether it be Harvey Weinstein and all the corporate bigwigs who saw box-office plummet, the film lovers who saw such a large amount of underwhelming flicks, or the mass of Brokeback fans that saw their film pipped at the final hurdle, I don't think anybody will be particularly devastated to see the back of the cinematic year that was, 2005.

Indeed, there really is very little to take out of this year. Perhaps the emergence of young talent such as Cillian Murphy and Rachel McAdams. Perhaps the return to form of the legendary Woody Allen. Perhaps the vast quality of the year's actors. Perhaps. Perhaps. Perhaps.

It's been clear for a while that 2005 was not your usual year. After all, this is a year where, a picture without a Globe or a SAG nomination can manage a Best Picture nod. A year where a film released in Early May with virtually no precursor wins whatsoever can walk away with the biggest prize in cinema. For all the mild interest in seeing who would grab the last two tight Picture spots, nearly every awarding body agreed on the winner except the one that mattered.

I think though, the main thing to learn from 2005: Timing is everything. Last year's Million Dollar Baby similarly stole in, though perhaps not as surprisingly, to grab the big prize from The Aviator. Although I am not the film's greatest fan (an understatement if ever there was one), I remember at the time saying that MDB was a very admirable pick for Best Picture, given that it showed that they voted with their hearts rather than anything else. I now retract every single bit of admiration. The decision to award Crash is safe, conservative, shallow, and is thoroughly down to the last two months of media hype, trying to create competition for the seemingly invincible Brokeback Mountain. Had BBM had even the remotest amount of competiton, and not have been in such an unasailable lead, it would be Best Picture Winner 2005. Nobody likes a frontrunner -- especially when it's a gay cowboy movie.

As for the acting, well that is similarly boring. Does it take more than one Oscar bait/Overdue/Raved about/Biopic/Popular nominee in the same category to make the Oscar race close? Is it such a stretch for people in Hollywood, or anywhere else for that matter, to disagree? Debate is healthy. I actually like the four acting winners, something very alien to me. But it doesn't stop 2 of the 4 being the favourites since November. I sincerely hope that next year, we can have a decent race in at least one of the leading categories. The last 3 years have been too predictable.

As the Oscars are over for another year, I will be making beginning of year predictions at the end of the week (and the race starts here -- yay) . But first, the good, the bad, and the downright TERRIBLE of Oscar's Awards, Moments, and Fashion.

The GOOD:

• Reese Witherspoon winning a thoroughly deserved (and six years overdue) Best Actress win. I got a very last-gasp attack of nerves that Felicity Huffman might take it. In retrospect it was just paranoia, but I was so overjoyed. Well done Reese.
• Ang Lee winning Best Director - I may have killed myself if he had lost. He doesn't have a bad word to say about anybody. God bless him.
• The host Jon Stewart. I suspect he's too liberal to bring back but I loved him.
• Meryl Streep and Lily Tomlin presenting Altman's Oscar. Better acting than most of the Actress nominees.
• 'It's Hard Out Here For a Pimp' winning Best Song. It was by far the best. Great choice.
• The Actress Ads. Charlize's one was so accurate.

The BAD:

• Obviously, 'Crash' winning Best Picture. I've said enough about that. I actually don't mind it winning screenplay. Bizzarely, it's my 2nd fave of the nominees. Just not Oscar worthy.
• The montages of films. What on earth is the point?
• The music playing while speeches are delivered. Totally and utterly disrespectful.
• Lack of tears. More people should have cried.

Fashion Winners:

• Keira Knightley (as ever). Wonderfully complimentary dress. Divine colour. Smoky eyes. Perfect.
• Salma Hayek. Stunningly fiery. Hot. Hot. Hot.
• Jennifer Aniston. Brad who?

Fashion Losers:

• Michelle Williams. Awful awful awful mustard coloured dress.
• Charlize Theron. What the....?
• Naomi Watts. Too puffy.

Oh.My.God.

Oh.My.God.

This is the biggest travesty in the Oscar history. Ever. How on earth...? I don't even want to think about what this means. And the worst part is: I actually liked 'Crash', and now I want to burn my DVD of it and scatter the remains upon Brokeback Mountain.

I think I need a holiday.

Final Predictions Finished!

With 4 Hours and 20 Minutes remaining my predictions are now finished! View them at the site

Final Predictions - Director

Newly updated final predictions for animated feature, art direction (Go King Kong!) and Director. All of them were fairly straightforward, and altogether very decent picks.

See them at the site . Final predictions are highlighted, and also in the right frame of the blog.

What's Hot: Music

So this week, it seems the people of the UK actually got it right for once. The top two singles in the country right now .. Madonna's 'Sorry' (the best of the album), and rising star Corinne Bailey Rae's second release from her self-titled album, 'Put Your Records On'. Both very worthy of your attention, even though they may not be in my most played tracks of the moment.

On the Ipod: My 10 Hottest Tracks

1. Antony and the Johnsons - River of Sorrow (NE)

2. Aaliyah - I Care 4 U (NE)

3. Bjork - Play Dead (NE)

4. Goldfrapp - Ride a White Horse (D3)

5. Pink - Stupid Girls (D3)

6. Madonna - Dear Jessie (NE)

7. Kate Bush - Mrs. Bartolozzi (NE)

8. Kate Bush - Hounds of Love (D4)

9. Fiona Apple - Extraordinary Machine (D6)

10. Fiona Apple - O Sailor (NE)

Final Predictions Underway

After I got Leading Actress out of the way -- by the way, I did actress first cause it was easy (Seen all the nominees, have very fixed views) -- I've moved on to the categories I am pretty much certain about. I'm waiting until I see Capote/Junebug/Syriana to touch the other main categories, so they'll probably have to wait til Friday.

Anyway, final predictions are up for:

• Cinematography
• Costume Design
• Original Score
• Sound Editing
• Sound Mixing
• Visual Effects

Check them out. Early joy for King Kong and Memoirs of a Geisha it seems.

Shame of 2005

Shopgirl heads my "Worst of 2005" list, with seven nominations. All fourteen painstakingly embarassing categories are available to view at the site now.

Feel free to comment.

Top Ten List available on Tuesday.

Actress In A Leading Role

The time has come to commit. My final predictions. My final preferences. And the best category kicks it off -- Actress In A Leading Role .

Who was snubbed?
Who is the best?
Who will win?

Questions. Questions. Questions.

How To Steal A Million

All over the radio this morning -- £25m stolen from Security Depot-- six men in Kent apparentely. Fairly intricate. Said to be Britain's biggest ever robbery - check out BBC for more details.

It seems in movies, pulling off this kind of heist is epic and genius, going back to William Wyler's charming '66 comedy How to Steal a Million, which, to this day, I love. With the divine Miss Audrey Hepburn in a role that showcases her as a comic goddess, and also starring the glorious Peter O'Toole, HTSAM is about the duo's plan to steal the valuable Cellini Venus statue from a Paris museum, to prove its authenticity (or lack thereof).

We've seen this before in Ocean's Eleven (the remake is better, the sequel, not so good) where eleven guys take part in a grand casino heist, and go through many trials, tribulations, and planning to pull it off. Entrapment is similar. Two master criminals doing battle with one another. As is The Thomas Crown Affair, though perhaps it's more about the aftermath than the event.

Anyone noticed a pattern? In every single case, we're rooting for the criminal. Why is that? Is it a 'fuck you' to society and corporate dominance? Looking at the people stolen from, and motives for theft, there seems to be circumstances that make the situation more morally permissable. In HTSAM, the statue is being stolen to prove its true worth, in both sentimental and financial value. In Ocean's Eleven, the man at the head of the casino, Terry Benedict (Andy Garcia), is a cold, calculating, mechanical villain. In Entrapment, theft is the 'norm'. The Thomas Crown Affair is slightly different, but still paints (excuse the pun) Pierce Brosnan in an almost idolised shade of blue. Yet when it comes to real-life, we can't help but denounce these master criminals for being greedy thugs.

When is it alright to steal, and when is it not? What is your favourite heist movie and why?

Press / Blunt

Look at this picture.......
No. Look at it carefully.....
Now tell me what's wrong with it.

You can't think of anything can you?

That's because there isn't anything wrong with it. It's perfect. And not enough people know it.

Ahead of my full analysis of the Best Actress Oscar race, which I'm currently adoring, I want to make one BIG thing perfectly clear. I fucking hate AMPAS. And even though I may be slightly intoxicated and therefore very emotional, this is the one thing I want to convey in this post.

In my 'Who Should have been nominated?' section there will be a place -- just as there is a place in my heart -- for Nathalie Press' stunning, revelatory, heartbreaking turn as Mona in My Summer of Love. She made me laugh. She made me cry. But above all, she made me believe in taking chances, in bravery. I think it will be a long long time before I see a character as polished as this one, and as completely authentic.

I'm writing words but there aren't any to describe this. I will stop. If you haven't seen her, do it. And do it quick.

What's Hot : Music

To contribute some musical insight, which has sadly been lacking for a while, I'm starting a new feature each week to chronicle the latest goings on in the musical world, and download tips (legally of course ;) ) Although there'll be a lot of British influence, I do listen to a vast range of stuff, which you'll see if you check my profile.

Latest News

Three-girl band Sugababes now has just one of its original members remaining, after Mutya Buena, who recently gave birth to a baby girl, has decided to call it a day. The original trio of Mutya, Keisha, and Siobhan (yes weird names, it gets weirder) made an early modest success with debut single Overload before having a very tidy year. After Siobhan Donnaghy left (by the way she has an excellent solo single called Overrated), Heidi joined the band, and the success continued, gaining them four number ones including a number one album.

So that brings us up to the present day, and Mutya's replacement, Amelle Berrabah. Amelle's debut performance with the group was last week on Top of the Pops (in Turin no less) and it turns out they made a great decision. As well as being very pretty -- I know, I know, as if they were going to choose a minger --this girl can also sing. Singing live, as they always do, one of the reasons I think they're great, they were as good as ever, and have a catchy song coming out soon. It's called Red Dress if anyone's interested.

Despite my enthusiasm, we've seen before with bands that new members can spell the end. With numerous rumours of rifts and quarrels, perhaps it is a little too naive to believe that all things will be rosy. Still, the success of Destinys Child, a group that had all in all around 7 members in its 7 years, must be a comfort. With Amelle, they still have appeal.

On the IPod: Top 10 Tracks

1. Goldfrapp - Ride on a White Horse
2. Pink - Stupid Girls
3. Fiona Apple - Extraordinary Machine
4. Kate Bush - Hounds of Love
5. Smokey Robinson - Tracks of my Tears
6. Avril Lavigne - Sk8r Boi
7. Bjork - There's More to Life than This
8. The Beatles - Hey Jude
9. Arctic Monkeys - When the Sun Goes Down
10. The 411 - On my Knees

Download any if you can. I promise you won't be disappointed.

BAFTA Rules

BAFTA Winners:

Best film: Brokeback Mountain
Does this change anything? Not a great deal. Crash remains an extreme outsider for a victory, re-enforced by its loss here but success overall.

Best British film: Wallace & Gromit: The Curse Of The Were-Rabbit

Best direction: Brokeback Mountain
Does this change anything? No. Ang Lee is a complete lock. Yay!

Best original screenplay: Crash
Does this change anything? Not a lot. Even though Crash is a frontrunner, I'm sure AMPAS owe more to Clooney than BAFTA do.

Best adapted screenplay: Brokeback Mountain
Does this change anything? I'm just stating the obvious now.

Best film not in English: De Battre Mon Coeur S'est Arrete (Beat My Heart Skipped)

Best actress: Reese Witherspoon
Does this change anything? Thankfully, no. Reese Witherspoon has won every award that matters, and will justly be rewarded in two weeks time.

Best actor: Philip Seymour Hoffman
Does this change anything? Sadly not. Yet another lock.

Best supporting actor: Jake Gyllenhaal
Does this change anything? Hell yes it does! What an interesting category, and proving that perhaps all but William Hurt is very capable of winning this. Although Dillon, and particularly Gyllenhaal are fairly young for this, their films are very strong, and seemingly have little chance of an acting win elsewhere.

Best supporting actress: Thandie Newton
Does this change anything? Not really, since Newton isn't involved at the Oscars. It does make you wonder if this just isn't Michelle Williams' year. Snubbed at the Globe, SAG, and now BAFTA. I love it.

Best music: John Williams for Memoirs of a Geisha

Best production design: Harry Potter and The Goblet Of Fire

Best editing: The Constant Gardener

Best short film: Antonio's Breakfast

Best effects: King Kong

Best cinematography: Memoirs of a Geisha

Best sound: Walk the Line

The Academy fellowship: David Puttnam (yay!)

The Best of British?

It occurred to me when watching the Brit Awards on Thursday how incredibly fucked up the people who vote for these awards must be. In one of the most boring shows in history, not even the performances could stir me from my lulling depression.

And the winners were..

British Male Solo Artist: James Blunt
Prediction - Correct
Reaction - Well deserved, if not my number one choice.

British Female Solo Artist: KT Tunstall
Prediction - Correct
Reaction - Completely the right decision, but I hope Kate gets another chance to win this.

British Group: Kaiser Chiefs
Prediction - Correct
Reaction - Clearly it was their night. Deserved, if a little overappreciative overall.

British Album: Coldplay — X&Y
Prediction - Incorrect
Reaction - A very meh pick. I like Coldplay as much as the next person but was their album really better than James Blunt's -- not to mention the divine Kate Bush. Strange that the Kaisers didn't win this as well.

British Single: Coldplay — "Speed Of Sound"
Prediction - Incorrect
Reaction - I don't know how this can win over James Blunt. It's a travesty.

British Breakthrough Act: Arctic Monkeys
Prediction - Correct
Reaction - Excellent decision, and a STFU to Noel Gallagher's flippant remarks, which is usually to criticise every other band that's successful. Here's to zero wins for Oasis this year.

British Urban Act: Lemar
Prediction - Incorrect
Reaction - Not sure what revelatory (or even solid) work he's done this year. Perhaps the best of a bad bunch.

British Rock Act: Kaiser Chiefs
Prediction - Incorrect
Reaction - Could have been worse.

British Live Act: Kaiser Chiefs
Prediction - Incorrect
Reaction - Ditto.

Pop Act: James Blunt
Prediction - Correct
Reaction - As I said. The only true pop act. Westlife are more of a circus act.

International Male Solo Artist: Kanye West
Prediction - Correct
Reaction - I thought this the only possible win. Kanye is good, but much more unoriginal than Mr. Johnson, who given his win, may have had a chance here.

International Female Solo Artist: Madonna
Prediction - Correct
Reaction - YES!

International Group: Green Day
Prediction - Incorrect
Reaction - Horrific win.

International Album: Green Day — American Idiot
Prediction - Incorrect
Reaction - Ditto

International Breakthrough Act: Jack Johnson
Prediction - Incorrect
Reaction - What a pleasant surprise. If it were not for their adoration of Green Day and the Kaiser Chiefs, I may actually have thought they had taste.

Outstanding Contribution To Music: Paul Weller
Reaction - Great set. Town Called Malice. Gold.

And so the official stats: 7/15 (44%) . Better luck next year eh?

The Painful Truth

Ahead of my Top Ten, and the TFL Awards at the end of February, I've decided to have a bit of a rant at some of 2005's many turkeys in my Bottom 10 of the year. At times it's difficult deciding exactly how bad a film is, especially as I don't like to think too much about it. I just love lists.

Beatrix Fucking Potter

Things may be comparatively 'alright' for British cinema. I mean, after all, there have been a number of recent worldwide successes emanating from this side of the Atlantic. 2001's Gosford Park is a good example -- one of my very favourite films -- and 2002's Bend it Like Beckham being another. We do churn out some interesting projects. But an article in the Observer today reminded me of the "value" of success. I'm not the first person to bitch about the relentless financial focus of the industry today, and nor will I be the last, but from a British perspective, it's difficult to question the motives of the British Film Council, and its method of distribution.

I'm not going to launch into the misguided hocus pocus view of English culture, its commercial value, the mythical essence of Notting Hill. While it's easy to criticise this dream-like vision of England as a white middle-class haven, it is easily neutralised by filmmakers such as Mike Leigh and Ken Loach, and the socio-realism they bring with them. But how long will this last? Is there another Leigh or Loach hiding in the shadows? And are they going to be sufficiently backed?

The most worrying thing about all of this is that even after Mike Leigh's triumphant Vera Drake -- a film nominated for 3 MAJOR oscars -- success is still a box-office breakout, or a cult dvd crowd. Perhaps when the British Film Council are assessing the potential "success" of a film in their care, they should ask themselves whether its really necessary.

Why ON EARTH would anyone in their right mind want to see Anne Hathaway 'become' Jane Austen? And while we're at it, why ON EARTH would Renee Zelwegger want to play Beatrix Potter? It beggars belief, it really does.

The Brits are Coming!

This is a very big week for British entertainment with the top British awards in Film, the BAFTAs, a week on Saturday, and the music extravaganza that is, The Brit Awards, a week tomorrow. This year has been pretty great for British music, and I'm really pleased with most of these nominations. Because I can't resist, here are my preferences and predictions about each category:

British Male Solo Artist:
ANTHONY AND THE JOHNSONS
IAN BROWN
JAMES BLUNT
ROBBIE WILLIAMS
WILL YOUNG

Who deserves to win? This one is tough for me. I want to say James Blunt but I only really LOVE one of his songs. Between Will and Anthony, I have to go for Anthony. His voice is so soft and beautiful and his songs really mean something. Sorry Will.

Who will win? Surely James Blunt, who has the biggest-selling album of last year, and a killer song one can hardly forget.

British Female Solo Artist:
CHARLOTTE CHURCH
KATE BUSH
KATIE MELUA
KT TUNSTALL
NATASHA BEDINGFIELD

Who Deserves to Win? Amazingly strong category. I'd rule out Natasha Bedingfield straight away, then Katie Melua, and then reluctantly Charlotte Church. I've made it clear how much I love Kate Bush, and I would dearly cheer if she ever wins another Brit, but if this is a prize for the year it has to go to KT Tunstall. Tunstall's album is amazing, she's great live, so if there's a woman of the year, she's it.

Who will win? Probably KT Tunstall, who is well-documented to have had a GREAT year. If it isn't KT, it'll be Charlotte Church, who has grown from operatic beauty to pop diva, and had a couple of great tunes.

British Album:
COLDPLAY - X+Y
GORILLAZ - DEMON DAYS
JAMES BLUNT - BACK TO BEDLAM
KAISER CHIEFS - EMPLOYMENT
KATE BUSH - AERIAL

Who deserves to win? Kate Bush, whose comeback album is infinitely better than any of the other albums nominated. Lyrically fascinating, vocally sharp, and a ton of tonal beauty.

Who will win? Probably James Blunt again, since it's the best-selling album of 2005. He may face competition from the Kaiser Chiefs though.

British Group:
COLDPLAY
GORILLAZ
FRANZ FERDINAND
HARD-FI
KAISER CHIEFS

Who deserves to win? In a kind of a meh category, Gorillaz are my favourite. With three very respectable tunes this year, their comeback has been a triumphant one.

Who will win? Probably the Kaiser Chiefs, who have had a breakthrough year to say the least.

British Rock Act:
FRANZ FERDINAND
HARD-FI
KAISER CHIEFS
KASABIAN
OASIS

Who deserves to win? Again, not the greatest category but for rock, I'd have to say Hard-Fi, who had two excellent rock tunes out lately. Kaisers a close 2nd.

Who will win? Probably a toss up between the Chief's and Oasis. I'll go with Oasis. It's any excuse to reward them.

British Urban Act:
CRAIG DAVID
DIZZEE RASCAL
KANO
LEMAR
MS DYNAMITE

Who deserves to win? Honestly, Ms Dynamite, whose 2nd album is severely underrated, and who will always have significantly more talent than her competitors.

Who will win? Kano, as an outside win. Failing the opportunity to surprise, they may go with Lemar.

Pop Act:
JAMES BLUNT
KATIE MELUA
KELLY CLARKSON
MADONNA
WESTLIFE

Who deserves to win? Some of these I don't even class as 'pop', especially Madonna's new album. My true preference is Madge but as a 'pop' act, I'd say James Blunt, who had a brilliant pop song.

Who will win? Dare i say another Blunt win? I dare indeed.

British Breakthrough Act:
ARCTIC MONKEYS
JAMES BLUNT
KAISER CHIEFS
KT TUNSTALL
MAGIC NUMBERS

Who deserves to win? In one of the best categories, the Arctic Monkey's are the true 'breakthrough', given their enormous early success.

Who will win? The monkeys. They can't ignore the band that made the biggest selling debut album ever.

International Breakthrough Act:
ARCADE FIRE
DANIEL POWTER
JACK JOHNSON
JOHN LEGEND
THE PUSSYCAT DOLLS

Who deserves to win? The Pussycat Dolls. I don't LOVE them but they've had two number one singles. And I ADORE 'Don't Cha'. Jack Johnson is my fave but he hasn't really 'broken through' as such.

Who will win? A fierce battle between Arcade Fire (a surprise double-nominee) and John Legend (a respectable RnB choice). I'll go with Legend... just.

British Live Act:
OASIS
KT TUNSTALL
KAISER CHIEFS
COLDPLAY
FRANZ FERDINAND

Who deserves to win? KT Tunstall hands down. Her voice has so much power and attraction. Singing live she sounds so natural.

Who will win? I honestly don't know. I'm going to go with Oasis again. It helps to be loved.

British Single:
COLDPLAY - SPEED OF SOUND
JAMES BLUNT - YOU'RE BEAUTIFUL
SHAYNE WARD - THAT'S MY GOAL
SUGABABES - PUSH THE BUTTON
TONY CHRISTIE - (IS THIS THE WAY TO) AMARILLO

Who deserves to win? Definitely NOT 'That's My Goal' anyway. Do they have no shame? Just because it sells hundreds of thousands does not mean it is in any way decent. James Blunt's 'You're Beautiful' is way above any of the others.

Who will win? The Blunt again. That's 4 out of 5 I've got him for. Lol. Well it could happen.

International Male Solo Artist:
BECK
BRUCE SPRINGSTEEN
JACK JOHNSON
JOHN LEGEND
KANYE WEST

Who deserves to win? Weird choices in this category. Bruce Springsteen?! Hmm.. Jack Johnson deserves to win this by quite some distance.

Who will win? Surely Kanye West. There's no one else.

International Female Solo Artist:

BJORK
KELLY CLARKSON
MADONNA
MARIAH CAREY
MISSY ELLIOTT

Who deserves to win? This is officially the BEST category at these awards. A shame it's an international category though lol. I love Missy and adore Bjork, but they really weren't at their best this year. The other three were great but nobody touches Madge, who nabbed her 11th number one single in October and is likely to get another one fairly soon.

Who will win? Madonna. They won't be able to resist.

International Group:
ARCADE FIRE
THE BLACK EYED PEAS
GREEN DAY
U2
WHITE STRIPES

Who deserves to win? The Black Eyed Peas, who have proved me wrong after I hated 'Where is the Love?'

Who will win? Between the Peas and Green Day. The only 2 that have been anywhere close to prominent this year. I'll choose the Peas.

International Album:
ARCADE FIRE - FUNERAL
GREEN DAY - AMERICAN IDIOT
KANYE WEST - LATE REGISTRATION
MADONNA - CONFESSIONS ON A DANCEFLOOR
U2 - HOW TO DISMANTLE AN ATOMIC BOMB

Who deserves to win? MADONNA. Her best album since Ray of Light. A triumph.

Who will win? I think Madge will, but it could go to Kanye.

Gender Bending

This year has had its fair share of gender-orientated movies, with Felicity Huffman's oscar-nominated role in Duncan Tucker's Transamerica, and Neil Jordan's telling of Irish adventurer Patrick "Kitten" Brady in Breakfast On Pluto. The past few years has suggested more of these films gaining interest, with movies such as 'Boys Don't Cry' gaining some worthy attention. Whether they will ever break into a mainstream format is debatable, but for the moment they are doing just fine.

Both Pluto and Transamerica have problems, but firstly I want to talk about Pluto's. Every once in a while (and when I say a while, I mean a length of time that's not quite long enough) there comes a film that tries to please too many people in too many ways, and subsequently loses track of its identity. Pluto is this type of film. It's ironic in a way that identity should be one of the film's biggest problems, considering its thematic nature of gender puzzlement.

Patrick "Kitten" Brady (Cillian Murphy) grows up with a disregard for everything and everyone around him, making him a rebellious and unorthodox figure. He wants desperately to be seen as a woman and therefore tries in vain to dress like one, behave like one, be like one. Murphy is miraculous, diving headlong into the character of Patrick, making you forget you are even looking at an actor. He captures Brady's sensitivity, his confusion and failure to acknowledge serious situations. At the core of Murphy lies Kitten's foolish lost childish nature and an inner strength that helps him ride through even the worst of times.

It's strange then, that the film must possess a terrorism sub-plot in order to explain the blase attitude of its biographical figure. I have no doubt that terrorism was going on in Ireland at this time, but the way that Pluto uses this to explain issues of characteristics is perhaps a little too drastic a move. This, as an attempt to dilute the heavily quirky, comedic angle of the film, is both naive and far-reaching. Breakfast On Pluto only works as a comedy, largely due to Murphy, but when drama is introduced frivolously and needlessly, you'll wish you had the lack of perspective of Kitten himself.

For essentially the same subject of gender identity, Transamerica has a very different way of dealing with it. Firstly, the character of Bree (Huffman), formerly Stanley, has already undergone sexual operations and is considerably more wise than Pluto's Kitten. The film also focuses on Bree's relationship with her son as opposed to Kitten's journey of self-discovery. Bree meets her son after a strange telephone call from a police station in New York, saying he has been taken in for hustling. Toby, unknowing that Bree was once his father, travels back with her, with the understanding that she is a Christian missionary.Transamerica remains very soulful throughout, the interaction between father and son through the road trip appearing natural and very genuine. This film is a lot about accepting other people for what they are, even if you don't like who they are.

Although Transamerica has quite a touching bond between the two main characters, the film tends to turn situations regarding transsexual societies, drugs, and over-bearing grandparents into silly comedy. There seems to be too much effort into creating a memorable trip, rather than embracing its central relationship in a way that similar films have in the past. The decision to include as many 'incidents' as possible escalates the film into a mode that it doesn't belong in, and takes away some of the emotional resonance.

And so I guess the underlying lesson is: If you're talking about people learning to accept themselves and others for their chosen identity, you must stick to your own. Nobody would care if there were no madcap moments in Transamerica, no moral questioning in Pluto. We just want you to tell a story.

Breakfast On Pluto - C-

Transamerica - D+

Love.. Is a Burning Thing

So after months of speculation, FINALLY 'Walk the Line' arrived on UK cinema screens today. Beginning at the start of the year with a host of pre-oscar predictions, some of which came off, some of which did not, I was anticipating WTL. Of course, this can be blamed on the Academy's surprising shun to the picture, which makes what I'm about to say all that harder to bear.

I'm sure by now you must know that I adore Reese Witherspoon in every way imaginable. I think she is a total and utter genius, particularly in Election, but also in Freeway, Legally Blonde, and even Sweet Home Alabama. It's very rare to find such a charismatic woman with THIS much on-screen presence. After seeing WTL today I may even build a shrine (yes, I'm serious) so I could bow down to her sheer greatness every night before I go to sleep. This performance is not only the best in its category, it is the best of its year. When RW wins her first (and hopefully not her last) Oscar on Sunday March 5th, I will be so completely overwhelmed. Even if she's married to Ryan Philippe (displays a mixed harbouring of jealousy and puzzlement).

So now onto the film.. lol. Well, after 'Ray' last year, which by the way had absoloutely no place being anywhere near a 'Best Picture' line-up. Fairly horrendous I hope you'll agree. But anyway, yes, like Ray, 'Walk the Line' is about a very famous recently desceased musician with a troubled past. The way it differs from last year's effort though, is a) in it's quality acting of the two leads and b) in it's representation of expectation, by your doting public, by your loving wife, by your parents. WTL is an insight into society and human dilemna as much as it is an insight into Johnny Cash's musical ramblings. Hearing this story of love, friendship, morality is itself like music to the ears.

There is a definite sense in this film that both Carter and Cash undergo an emotional journey of different magnitudes, and in this way is very atypical of your usual biopic. Phoenix gives Cash a glaring humanity, and never overplays, whether he be a drunken rambler, a lovestruck puppy, a rock star, Phoenix is always Johnny Cash. Where the film particularly peaks though, is when he and Witherspoon interact. They connect on a level that typifies the central relationship in the film, driving the thematic boundaries of the film to the limit.

Listening to Cash's music is always a pleasure. Do not for one second imagine me as a Johnny Cash fan lol. I never will be a fan, but there are certain singers whose work is universally accepted, and he is one of them. The decision to let the two leads sing only enhances the film in a way 'Ray' grew distant and dormant. 'Walk the Line' is a triumph, in the sense that writing a song may be more rewarding than singing it. To believe in a song is to believe in what it is saying, and believe me when I say: 'Walk the Line' says all the right things, and believes in them all.

Grade: B+

Oscar Reaction

Reaction to the Oscar nominations, for the main six categories, is available over at the site. Any comments would be appreciated. Do you think I'm overrating Crash? Or underrating Felicity Huffman? Like I said -- if you do, give me a bell ;)