Predictions {National Board of Review}

I am SO excited. The NBR announce their Top 10 and awards tomorrow. Their Best Picture nearly always gets in, so this is the first major test for all those Oscar hopefuls. Here's who I think will grab each prize, and I'll post the actual winners plus reaction tomorrow:

Best Picture: Into the Wild

Based on the fact their winner doesn't usually win at Oscar I'm not gonna go for Atonement. Otherwise I probably would have. I also think The Kite Runner is in with a shout. They gave it to Neverland and this looks equally as sappy.

Rest of Top Ten:

The Assassination of Jesse James

Atonement

I'm Not There

Juno

The Kite Runner

Michael Clayton

No Country For Old Men

Sweeney Todd

There Will Be Blood

Best Director: Sean Penn - Into the Wild

Best Actor in a Leading Role: Daniel Day-Lewis - There Will Be Blood

Best Actress in a Leading Role: Ellen Page - Juno

Best Actor in a Supporting Role: Hal Holbrook - Into the Wild

Best Actress in a Supporting Role: Cate Blanchett - I'm Not There

American Gangster & Enchanted

American Gangster
Directed by Ridley Scott
Starring: Denzel Washington, Russell Crowe, Ruby Dee, Chiwetel Ejiofor, Josh Brolin
Grade: C

American Gangster is the perfect example of an incalculable failure. The sum of its meaty parts: the legendary Ridley Scott, Oscar-winning actors Denzel Washington and Russell Crowe, and acclaimed screenwriter Stephen Zaillian (All the Kings Men aside) somehow manages to feel routine and completely underwhelming . It's one of those films that is stylish and -- even at 160 minutes -- is fairly easy to sit through; just difficult to take anything from.

Crowe, and particularly Washington, are in stellar form, but only share a couple of scenes in the film, the brunt of the time spent intercutting between the two. The film certainly doesn't work as a fast-paced police hunt, and so tries to atone for this by creating thin similarities between cop and criminal; so much so that they actually seem to enjoy each other's company when they finally do meet (wtf?) -- a finale with a nonsensically epilogue feel about it. Gangster is so far on the outside of its characters and themes that it feels as though they've wiped the board and started again after every scene. There's nothing to learn about anything or anyone in the film, so they really may as well have.

Enchanted

Directed by Kevin Lima
Starring: Amy Adams, James Marsden, Timothy Spall, Susan Sarandon, Patrick Dempsey

Grade: B-

Amy Adams' performance as fish-out-of-water Princess Giselle will undoubtedly emerge as a highlight of this year. One of the best displays to have come out of the genre, and certainly the best since Jamie Lee Curtis' fantastic turn in 2003's hilarious Freaky Friday. Her character really represents Disney in her invasion of the 'real world', almost as a reminder of its existence, and is drawn with gorgeous intentions; the main reason the film works as well as it does. It has been a long time since Disney ruled any roost, but their simple and core values of romance here are as well-conveyed as that of its golden age. It defies opportunities to contradict and modernise itself, batting its narrative eyelid at the complexities of tumultuous relationships. It's dated and naive, but the alienation of such admirable values does make you consider the extent to which the world's view of romance is now so far removed from that, complicated and self-aware.

What I did find a bit strange was Giselle's character arc, which, while genuine, felt much too sudden for me. It's a matter of hours before she turns from crazy cartoon to contemplative human, which made me wonder what on earth she is supposed to have dreamt about that night. Nevertheless, her success as a character and vehicle in the film is unprecedented. But if you thought the summer fantasy Stardust was frantic, it's got nothing on this. Enchanted introduces characters and plot devices with frivolous disregard for cohesion or order. It's a production heightened greatly by the quality of the two leads, and one that only really loses control in the latter stages. It's goofy fun but while Enchanted may falter in its desire to provide the jugular, its tiresome ways are as endearing as a puppy dog: doting, loyal, pure.

New Oscar Predictions {Before all the Critics have their say}

Best Picture

1. Atonement
2. No Country For Old Men
3. Juno
4. Into the Wild
5. There Will Be Blood

No Country For Old Men looks incredibly strong at the moment, and I have total faith that Oscar will embrace Atonement's ambitious audacity. As for Into the Wild, everyone pretty much likes it. Plus the fact that it's directed by an Oscar winner can't do any harm. There Will Be Blood will be heavy but surely memorable in a year with so little of the 'extraordinary'. And Juno continues to go from strength to strength. One of the biggest buzzing films at the moment, and looks set to become this year's indie darling. Hell, it could probably make the lineup coasting on the buzz of its starlet.

Alternatives: Sweeney Todd, The Kite Runner

Best Director

1. Joe Wright - Atonement

2. Sean Penn - Into the Wild

3. Joel & Ethan Coen - No Country For Old Men

4. Paul Thomas Anderson - There Will Be Blood

5. Todd Haynes - I'm Not There

Wright is in. Penn is an Oscar winner with a strong film. AMPAS love the Coens, and have surely jilted Paul Thomas Anderson one time too many to deny him a place here. Haynes' film is too quirky for BP, but respected enough to grab him one of these spots. I'm really confident about this category.

Alternatives: Jason Reitman - Juno, Mike Nichols - Charlie Wilson's War

Best Actress in a Leading Role

1. Marion Cotillard - La Vie En Rose

2. Julie Christie - Away From Her

3. Ellen Page - Juno

4. Keira Knightley - Atonement

5. Angelina Jolie - A Mighty Heart

Mad, mad category. Cotillard has the hotness, the biopic (and seemingly a strong one if the Satellites are anything to go by), and the SCENES. Christie has her previous Oscar, a raved film, and a sympathetic role. Plus the fact she's flat out incredible. Page has the media spotlight at the moment. Knightley has the strongest film, and trust me, people are going to want to find things to nominate Atonement for. And Jolie is the biggest star of them all, but has the film that people won't remember, however wonderfully crafted it may be. I would say she is by far the weakest of those five, especially given the big buzz for Amy Adams, and the big love for Laura Linney. Even though The Savages seems to be losing steam quickly she was the only nominee when Kinsey similarly fell flat on its face. I'm calling Jolie for the moment.

Alternatives: Laura Linney - The Savages, Amy Adams - Enchanted

Best Actor in a Leading Role

1. Daniel Day-Lewis - There Will Be Blood

2. James McAvoy - Atonement

3. George Clooney - Michael Clayton

4. Frank Langella - Starting Out in the Evening

5. Johnny Depp - Sweeney Todd

Day-Lewis is the one I'd put my life on giving an oscar-worthy peformance. A sure success. Depends on how they take the film but I'm confident. This category has got mad lately. Lots of possibilities. I like it. McAvoy is excellent, and as I've said, I think he'll have the strongest film. Clooney is the title character and as the film is a relentless character study (a very decent one at that) it stands him in good stead. PLUS he's George Clooney! Langella's buzz is building in time for the awards shortlist, and he's a household name. And the wonderful Johnny Depp has great early notices for Sweeney. We'll see if he can make it into a line-up that's fiercely contested at the moment, but if he does, he could even win. I hope I haven't jinxed it! Hirsch will have a strong film but is a lesser known in a crowd of veteran performers, and Tommy Lee Jones will surely have fans but his film bombed more than anyone could have expected.

Alternatives: Emile Hirsch - Into the Wild, Tommy Lee Jones - In the Valley of Elah

Best Actress in a Supporting Role

1. Cate Blanchett - I'm Not There

2. Saoirse Ronan - Atonement

3. Vanessa Redgrave - Atonement

4. Tilda Swinton - Michael Clayton (yay!)

5. Amy Ryan - Gone, Baby, Gone

Blanchett and Ronan are too strong. Redgrave I think is going to knock people's socks off with her short role (she certainly did mine). Plus she's an Oscar fave. Swinton was fantastic, and if Clooney is nominated like I think he will be, she should follow. Truthfully, I haven't heard of Amy Ryan before, but if in doubt, go for the teary women. I love MacDonald and the film should be strong. Garai is the least good of the three Briony's but has possibly the most baity scenes.

Alternatives: Kelly MacDonald - No Country For Old Men, Romola Garai - Atonement

Best Actor in a Supporting Role

1. Hal Holbrook - Into the Wild

2. Javier Bardem - No Country For Old Men

3. Casey Affleck - The Assassination of Jesse James

4. Tom Wilkinson - Michael Clayton

5. Philip Seymour Hoffman - Charlie Wilson's War

Holbrook is the prime candidate. Sympathetic and nearly dead. Bardem is going to be remembered more than anyone else. Affleck has Gone, Baby, Gone on top of this to remind him he's edging out of the shadow of his brother. Wilkinson's madman role is very Oscar. And Hoffman, who I don't think will fit into the lead category, and often plays the joker, may be given this nomination for a comic role, in what I suspect will be a film criticised heavily for its comedy.

Alternatives: Paul Dano - There Will Be Blood, Steve Zahn - Rescue Dawn

Satellite Nominations

ACTRESS IN A MOTION PICTURE, DRAMA
Julie Christie, "Away From Her" (Lionsgate)
Angelina Jolie, "A Mighty Heart" (Paramount Vantage)
Marion Cotillard, "La Vie En Rose" (Picturehouse Entertainment)
Tilda Swinton, "Stephanie Daley" (Regent Releasing)
Keira Knightly, "Atonement" (Focus Features)
Laura Linney, "The Savages" (Fox Searchlight)

ACTOR IN A MOTION PICTURE, DRAMA
Denzel Washington, "American Gangster" (Universal Pictures)
Josh Brolin, "No Country For Old Men" (Miramax Films)
Christian Bale, "Rescue Dawn" (MGM)
Viggo Mortensen, "Eastern Promises" (Focus Features)
Frank Langella, "Starting Out in the Evening"(Roadside Attractions)
Tommy Lee Jones, "In the Valley of Elah" (Warner Independent Pictures)

ACTRESS IN A MOTION PICTURE, COMEDY OR MUSICAL
Katherine Heigl, "Knocked Up" (Universal Pictures)
Amy Adams, "Enchanted" (Walt Disney Pictures)
Ellen Page, "Juno" (Fox Searchlight)
Emily Mortimer, "Lars and the Real Girl" (MGM)
Nicole Kidman, "Margot at the Wedding" (Paramount Vantage)
Cate Blanchett, "I’m Not There" (The Weinstein Company)

ACTOR IN A MOTION PICTURE, COMEDY OR MUSICAL
Richard Gere, "The Hoax" Miramax
Seth Rogen, "Knocked Up" (Universal Pictures)
Ben Kingsley You Kill Me Ifc Films
Ryan Gosling, "Lars and the Real Girl" (MGM)
Clive Owen, "Shoot ‘Em Up" (New Line Cinema)
Don Cheadle, "Talk to Me" (Focus Features)

ACTRESS IN A SUPPORTING ROLE
Saoirse Ronan, "Atonement" (Focus Features)
Emmanuelle Seigner, "La Vie En Rose" (Picturehouse Entertainment)
Tilda Swinton, "Michael Clayton" (Warner Bros. Pictures)
Amy Ryan, "Gone Baby Gone" (Miramax Films)
Taraji P. Henson "Talk to Me" (Focus Features)
Ruby Dee, "American Gangster" (Universal Pictures)

ACTOR IN A SUPPORTING ROLE
Jeff Daniels, "The Lookout" (Miramax Films)
Brian Cox, "Zodiac" (Paramount Pictures)
Tom Wilkinson, "Michael Clayton" (Warner Bros. Pictures)
Ben Foster, "3:10 To Yuma" (Lionsgate)
Javier Bardem, "No Country For Old Men" (Miramax Films)
Casey Affleck, "The Assassination of Jessie James" (Warner Bros. Pictures)

MOTION PICTURE, DRAMA
"The Lookout" Miramax
"Before the Devil Knows You’re Dead" (ThinkFilm)
"Away From Her" (Lionsgate)
"Eastern Promises" (Focus Features)
"No Country For Old Men" (Miramax Films)
"3:10 To Yuma" (Lionsgate)

MOTION PICTURE, COMEDY OR MUSICAL
"Hairspray" (New Line Cinema)
"Juno"(Fox Searchlight)
"Shoot ‘Em Up" (New Line Cinema)
"Lars and the Real Girl" (MGM)
"Knocked Up" (Universal Pictures)

MOTION PICTURE, FOREIGN LANGUAGE
"Ten Canoes" Australia (Palm Pictures)
"Offside" Iran (Sony Pictures Classics)
"La Vie En Rose" France (Picturehouse Entertainment)
"Lust, Caution" China (Focus Features)
"4 Months 3 Weeks & 2 Days" Romania Ifc Films
"The Orphanage" Spain (Picturehouse Entertainment)

MOTION PICTURE, ANIMATED OR MIXED MEDIA
"Persepolis" (Sony Pictures Classics)
"The Simpsons Movie" Twentieth Century Fox
"The Golden" Compass (New Line Cinema)
""Ratatouille"" (Buena Vista Pictures)
"300" Warner Brothers
"Beowulf" (Paramount Pictures)

MOTION PICTURE, DOCUMENTARY
"The King Of Kong" (Picturehouse Entertainment)
"The 11th Hour Warner" (Independent Pictures)
"Sicko" (Lionsgate)
"No End In Sight"(Magnolia Pictures)
"Darfur Now Warner" (Independent Pictures)
"Lake Of Fire" (ThinkFilm)

DIRECTOR
Ang Lee, "Lust, Caution" (Focus Features)
Olivier Dahan, "La Vie En Rose" (Picture House Entertainment)
David Cronenberg, "Eastern Promises" (Focus Features)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax Films)
Sidney Lumet, "Before the Devil Knows You're Dead" (ThinkFilm)
Sarah Polley, "Away From Her" (Lionsgate)

SCREENPLAY, ORIGINAL
Scott Frank, "The Lookout" (Miramax Films)
Diablo Cody, "Juno" (Fox Searchlight)
Kelly Masterson, "Before the Devil Knows You’Re Dead" (ThinkFilm)
Tony Gilroy, "Michael Clayton" (Warner Bros. Pictures)
Nancy Oliver,"Lars and the Real Girl" (MGM)
Steven Knight, "Eastern Promises" (Focus Features)

SCREENPLAY, ADAPTED
James Vanderbilt, "Zodiac" (Paramount Pictures)
Christopher Hampton "Atonement" (Focus Features)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax Films)
David Benioff, "The Kite Runner" (Paramount Vantage)
Sarah Polley,"Away From Her" (Lionsgate)
Wang Hui Ling, James Schamus,"Lust, Caution" (Focus Features)

ORIGINAL SCORE
Dario Marianelli, "Atonement" (Focus Features)
James Newton Howard, "The Lookout" (Miramax Films)
Michael Giacchino, "Ratatouille" (Buena Vista Pictures)
Alberto Iglesias, "The Kite Runner" (Paramount Vantage)
Howard Shore, "Eastern Promises" (Focus Features)
Nick Cave, "The Assassination of Jesse James" (Warner Bros. Pictures)

ORIGINAL SONG
"Do You Feel Me"/Diane Warren, "American Gangster" (Universal Pictures)
"If You Want Me"/Glen Hansard & Marketa Irglova, "Once" (Fox Searchlight)
"Come So Far"/Marc Shaiman, "Hairspray" (New Line Cinema)
"Rise"/Eddie Vedder, "Into The Wild" (Paramount Vantage)
"Grace Is Gone"/Clint Eastwood & Carole Bayer Sager, "Grace Is Gone" (The Weinstein Company)
"Lyra"/Kate Bush, "The Golden Compass" (New Line Cinema)

CINEMATOGRAPHY
Harris Savides, "Zodiac" (Paramount Pictures)
Robert Elswit, "There Will Be Blood" (Paramount Vantage)
Bruno Delbonnel, "Across The Universe" (Revolution Studios)
Janusz Kaminski, "The Diving Bell and the Butterfly" (Miramax Films)
Roger Deakins, "The Assassination Of Jesse James By the Coward Robert Ford" (Warner Bros.)
Henry Braham, "The Golden Compass" (New Line Cinema)

VISUAL EFFECTS
"Transformers" (Paramount Pictures)
"The Golden Compass" (New Line Cinema)
"300" (Warner Bros. Pictures)
"The Bourne Ultimatum" (Universal Pictures)
"Enchanted" (Walt Disney Pictures)
"Beowulf" (Paramount Pictures)

FILM EDITING
Pietro Scalia, "American Gangster" (Universal Pictures)
Jill Savitt, "The Lookout" (Miramax)
Ethan Coen, Joel Coen, "No Country For Old Men" (Miramax)
Richard Marizy, "La Vie En Rose" (Picturehouse Entertainment)
Christopher Rouse, "The Bourne Ultimatum" (Universal Pictures)
Ronald Sanders, "Eastern Promises" (Focus Features)

SOUND (EDITING & MIXING)
"The Golden Compass" (New Line Cinema)
"La Vie En Rose" (Picturehouse Entertainment)
"Pirates Of The Caribbean: At World’S End" (Buena Vista Pictures)
"300" (Warner Bros. Pictures)
"The Bourne Ultimatum" (Universal Pictures)
"I Am Legend" (Warner Bros. Pictures)

ART DIRECTION & PRODUCTION DESIGN
"Elizabeth: The Golden Age" (Universal Pictures)
"The Assassination Of Jesse James By the Coward Robert Ford" (Warner Bros. Pictures)
"Hairspray" (New Line Cinema)
"Sunshine" (Fox Searchlight Pictures)
"Amazing Grace" (Samuel Goldwyn Films)
"Across the Universe" (Revolution Studios)

COSTUME DESIGN
Alexandra Byrne, "Elizabeth: The Golden Age" (Universal Pictures)
Yvonne Blake, "Goya’s Ghosts" (Samuel Goldwyn Pictures)
Marit Allen, "La Vie En Rose" (Picturehouse Entertainment)
Rita Ryack, "Hairspray" (New Line Cinema)
Jenny Beavan, "Amazing Grace" (Samuel Goldwyn Films)
Jacqueline Durran, "Antonement" (Focus Features)

Gotham Film Awards

More joy for Ellen Page...


Best Feature

Great World of Sound
I’m Not There
* Into the Wild
Margot at the Wedding
The Namesake


Best Documentary

The Devil Came on Horseback
Jimmy Carter: Man from Plains
My Kid Could Paint That
* Sicko
Taxi to the Dark Side


Best Ensemble Cast

TIE* Before the Devil Knows You’re Dead
The Last Winter
Margot at the Wedding
The Savages
TIE* Talk to Me


Breakthrough Director

Lee Isaac Chung for Munyurangabo
Stephane Gauger for Owl and the Sparrow
Julia Loktev for Day Night Day Night
David Von Ancken for Seraphim Falls
* Craig Zobel for Great World of Sound


Breakthrough Actor

Emile Hirsch in Into the Wild
Kene Holliday in Great World of Sound
* Ellen Page in Juno
Jess Weixler in Teeth
Luisa Williams in Day Night Day Night


Best Film Not Playing at a Theater Near You

August the First
* Frownland
Loren Cass
Mississippi Chicken
Off the Grid: Life on the Mesa

Eastern Promises (2007)

Eastern Promises

Directed by David Cronenberg

Starring: Viggo Mortensen, Naomi Watts, Vincent Cassel, Armin Mueller-Stahl

Grade: C

Not one to shy away from difficult subjects, David Cronenberg's latest offering, Eastern Promises, is the sinister and ambitious story of midwife Anna (Naomi Watts). When a teenage Russian girl dies during childbirth Anna takes the girl's diary for her Russian Uncle to translate. However, the information that she learns from this, and her quest for answers about the location of the baby's rightful family, propel her into the dangerous world of London's Russian mafia. In particular, the crime family headed by Semyon (Armin Mueller-Stahl) and his son Kirill (Vincent Cassel), to whom Nikolai (Viggo Mortensen) is a 'driver'.

As an examination of the duality of man, Eastern Promises bears similarities to Kubrick's Full Metal Jacket (1987), in that it focuses particularly on human aggression. This duality is best embodied in the film by the dark and dangerous Nikolai, captured through the terrific, menacing Mortensen. His unflinching placidity is both unsettling as defence, and lucid as potential threat -- the perfect poker face -- hinting at a clinical, fearsome edge. It is he that Anna clashes with on several occasions, but who has an underlying sensitivity to her plight, and the knowledge that she is completely out of her depth. Most interestingly, Nikolai is the element that holds everyone in the film together -- as father, mother, mentor and husband to the two true 'children' of the film, Anna (her initial theft of the diary, refusal to allow anyone in her family to read it, and rashness in showing it to Semyon) and the volatile Kirill (his pettiness, thirst for independence from his father, and struggle with sexuality).

The film differentiates him from the other criminals by giving him a sense of morality, demonstrated by his sparing of Anna's Uncle, but then chooses to paint him as a darker prospect. As the film progresses he seems to become more immersed and satisfied in the brutality of his environment, and more curious about ambition and power. Most unfathomably though, screenwriter Stephen Knight decides to introduce a different dimension and purpose to the character of Nikolai towards the end of the film which a) doesn't develop b) doesn't contribute to anything that already has developed, and c) makes you question the genuineness of the ninety minutes that precede it.

Anna's links to Russia and motherhood feel suspiciously orchestrated, and in this way Eastern Promises is far more guilty of the faults that last year's Breaking and Entering was unfairly maligned for. The introduction of a miscarriage back story feels deliberately confrontational, and although seems to adhere to the harsh and direct mood of the film, sparks severe inconsistencies within the character of Anna. The film can't seem to make up its mind as to whether Anna is a concerned citizen or an irrational 'mother', or, more worryingly, wants to pass her off as both. The uncertainty of her motives and their seeming opposition to one another, often makes her actions in the film feel senseless; her status as the energetic, productive presence of the film ineffectual.

Much of Eastern Promises is admittedly very intriguing but ultimately feels artificial. Because Knight plagues its characters with every complex under the sun, it's difficult to fully understand or relate to their actions. He is simply too suggestive, the biblical undertones towards the end of the film indicative of the way he constantly bands more ideas around than he knows what to do with. If Eastern Promises could say more about the culture it's representing then fair enough, but it can't, and what it does say really doesn't amount to much.

Here We Go: Independent Spirit Nominations

So the Independent Spirit Awards have kicked off the Awards Season (Yay!!!!) by throwing up at a nominees list that's pretty damn interesting. Here it is, with reaction:

Best Feature

"The Diving Bell and the Butterfly"
"I'm Not There"
"Juno"
"A Mighty Heart"
"Paranoid Park"

Reaction: I am so pleased to see A Mighty Heart nominated here. I'm Not There will be the favourite, having most nominations, but Juno's inclusion at the expense of The Savages would suggest it's going to be the stronger film of the two. Long shot for a BP nom though, one would think.

Best Director

Todd Haynes, "I'm Not There"
Tamara Jenkins, "The Savages"
Jason Reitman, "Juno"
Julian Schnabel, "The Diving Bell and the Butterfly"
Gus Van Sant, "Paranoid Park"

Reaction: I suspect none of these will be first on the Oscar ballot but Haynes will be favourite, and his picture could sweep the board here. Even though it's a biopic it's completely unconventional and so a BP nom is a major doubt. But this helps. I think the lone director spot is more likely.

Best Screenplay

Ronald Harwood, "The Diving Bell and the Butterfly"
Tamara Jenkins, "The Savages"
Fred Parnes & Andrew Wagner, "Starting Out in the Evening"
Adrienne Shelly, "Waitress"
Mike White, "Year of the Dog"

Reaction: I'm appalled, but not surprised, to see Waitress included. Major love for Diving Bell but not in the category you'd expect -- as we'll see further down.

Best First Screenplay

Jeffrey Blitz, "Rocket Science"
Zoe Cassavetes, "Broken English"
Diablo Cody, "Juno"
Kelly Masterson, "Before the Devil Knows You're Dead"
John Orloff, "A Mighty Heart"

Reaction: Juno, Devil and Heart are all still in contention for screenplay nominations. But Juno is strongest across the board, and Diablo Cody -- what a great name!

Best Female Lead

Angelina Jolie, "A Mighty Heart"
Sienna Miller, "Interview"
Ellen Page, "Juno"
Parker Posey, "Broken English"
Tang Wei, "Lust, Caution"

Reaction: Sienna Miller! Quite surprising. Nobody saw the film though so I expect this is as far as she goes. Same for Posey, who I'm surprised made it ahead of Keri Russell, whose snub here doesn't do her any favours. I must say I'm pleased.... Tang Wei is Lust, Caution's only nominee and may still have a chance at Globe and SAG. Cotillard being there does not help her though. I'm thrilled for Jolie, who definitely won't have a hard time getting in at the Globes, and who knows, could even win it! Page is probably stronger though, and I think the favourite for this. They just loooooved Juno.

Best Male Lead

Pedro Castaneda, "August Evening"
Don Cheadle, "Talk to Me"
Philip Seymour Hoffman, "The Savages"
Frank Langella, "Starting Out in the Evening"
Tony Leung, "Lust, Caution"

Reaction: Major major surprise that they left out Amalric after Diving Bell was nominated for Pic, Dir, and Screenplay. And who for? Langella and Castaneda have hardly been talked about, and Cheadle's film came out ages ago. Still, it's lovely to see Leung there. Hoffman should walk this.

Best Supporting Female

Cate Blanchett, "I'm Not There"
Anna Kendrick, "Rocket Science"
Jennifer Jason Leigh, "Margot at the Wedding"
Tamara Podemski, "Four Sheets to the Wind"
Marisa Tomei, "Before the Devil Knows You're Dead"

Reaction: Talk of Blanchett campaigning lead looks like it's false, but if they were thinking about it then this pretty much signals that awards bodies are not going to lie down and accept it. I've no doubt she'll win this, as she will win if the performance goes supporting at the Oscars, but the studio need to be careful.

Best Supporting Male

Chiwetel Ejiofor, "Talk to Me"
Marcus Carl Franklin, "I'm Not There"
Kene Holliday, "Great World of Sound"
Irrfan Khan, "The Namesake"
Steve Zahn, "Rescue Dawn"

Reaction: Meh. Ejiofor has an outside shot at Oscar inclusion.

Best Foreign Film

"4 Months, 3 Weeks and 2 Days," Romania
"The Band's Visit," Israel
"Lady Chatterley," France
"Once," Ireland
"Persepolis," France

Reaction: It's a shame Once had no American money in it. It could have done with some nominations here. I haven't seen any of these but the response from critics I like has been impressive.

Here's to the start of Award Season!! :-)

Hot Track: Duffy - Rockferry

Current Obsessions

The Tennessee Williams / Elizabeth Taylor combo. How can one man write so much insightful stuff, and how can one woman interpret this stuff so fabulously? I saw Suddenly Last Summer the other day and Cat On a Hot Tin Roof not long ago. I'd give Taylor both Oscars and remove her Butterfield one. But I guess we'd all like to re-write much of Oscars' history.

This Mortal Coil's 1984 album It'll End In Tears, which I recently purchased after hearing just one song off of it, Song to the Siren. I have not been disappointed with the rest -- especially the beautiful 'Holocaust'.

Shia LaBeouf, whose arrest for "trespassing" on Bonfire Night makes him even more appealing. Who can resist a badboy, right? Seriously though, I really don't tend to go for a babyface, but he's JUST SO scrumptious! And a mega promising actor -- see my latest lavish of praise for him here

Fergie's new song Clumsy . I hated her last song 'Big Girls Don't Cry' but this is a completely different sound. I can see now why her album has mixed reviews. Judging by the singles she's released it seems less of a consistent, complete sounding album than a few different (but admittedly good) songs.

Live-Blogging: Strictly Come Dancing and The X Factor

9.40pm: They've both performed again and Hope were much much better this time. Full of personality. So here's the result.... First to answer is Louis. He sends home FutureProof. Good lad. Sharon next. She chooses FutureProof too! I'm pleasantly surprised. Danni to go now. She chooses Hope. I thought she would. She fancies a couple of them. Simon's turn. He sends home the boys. Good call.

9.30pm: OK. It's results time. Louis looks nervous. So does Simon. I'm not sure why.... First through is Alisha. Boooo! Leon is also through. People think he's cute. Beverley as well. Meh. YAYYYYY! Rhydian is through! Of course :-P. Niki as well, which I like, but none of the groups are through so far, which is worrying. Now they are! Same Difference announced as through. Great stuff. Final act through is.... Andy! Ridiculous. FutureProof and Hope are the bottom two. What are the public thinking? I think Simon's loyalties lie with Hope but I think it could be 2-2 with Louis also voting for the girls (he can't help it). They're performing again...

9.15pm: Boyz II Men are about to perform, which I find quite perplexing since they're a) so 90's, and b) not that well-known in this country anyway. This is clearly one of Simon's American imports.

8.17pm: A round-up of my scores:

Rhydian - 9/10
Hope - 8/10
Same Difference - 8/10
FutureProof - 7/10
Niki - 7/10
Beverley - 6/10
Leon - 6/10
Alisha - 5/10
Andy - 4/10

See you for the results show at 9.10pm! XX

8.15pm: Another teary clip about Beverley providing for her family. Talk of dreams. Excuse me while I throw up. She's singing 'Feeling Good'. Tough song. Lots of attitude and the vocals are quite good but I feel like I've seen this a million times before. She isn't special. 6/10. The judges love her. Louis says it's the best performance of the night. I don't know what they're talking about. If that song doesn't make the hairs on the back of your neck stand up then it can't be outstanding. Oh well. Que sera sera.

8.05pm: Andy's turn. Boring song that I don't recognise. 'I Need Your Love'? He's wearing white and yet the stage props look gothic. Very odd. His vocals are OK but get drowned out by the backing on the loud parts of the song. I can't help but think he's a total sap. Dull. Dull. Dull. Dull. Dull. 4/10. The judges are sympathetic but criticise him. Simon says he doesn't see him as a recording artist. I agree. Danni is obviously trying to get the teen girl vote, mentioning his abs and now his female fanbase. Lame.

7.55pm: Now it's Hope. I'm sick of everyone crying on the clips. Will they not learn from Emily? They're singing Hanky Panky by Madonna. I haven't heard this in ages! Full of character and attitude. Vocals are decent and they're dressed great. 8/10. Louis says there's a gap for them in the charts, which I agree with, although Girls Aloud are doing enough for several girl bands at the moment. Sharon didn't like the song because she's a monster. Danni liked them but says the vocals aren't the best. Simon wants to invidualise them because they're his act. He's going overboard but they were good.. and original, which is the most important thing.

7.45pm: Alisha is singing Valerie (The Ronson/Winehouse version). She's sassy but the vocals are a bit ragged and flat. I almost feel like she has enunciation problems. I feel like everyone else in the competition could sing it better. She's workin it though for sure. 6/10. Unbelievably the judges love her. I think it could mainly be pity since she's Sharon's last surviving girl. I could see the fight but I thought it was kinda detremental to the whole performance.

7.40pm: Same Difference are singing S Club 7's Reach with a big band. Classic! I can see them entertaining kids in the future. They'd be great on Saturday morning TV. It's vocally sound, and super super fun. Brings me back to my childhood. Cuteness personified. 8/10. Louis says they have a career in panto. Everyone else really likes them. I'd be shocked if they were in the bottom two.

7.25pm: Rhydian does Pink's 'Get the Party Started'. I'd be lying if I said I thought it fully worked, but his vocals have such a searing majesty about them. He can do anything. I love love love love love love LOVE him. The last note is gold. 9/10. Louis didn't like the song. Everyone loved the voice. Sharon is bitter about his success. I don't like her.

7.17pm: Niki does 'All That Jazz'. It's good but there's not enough sex in there for me. Too tame. I like her but she didn't give enough. 7/10. The judges like her except Simon who calls it cabaret. The crowd don't like it, and Niki acts like she doesn't care about his opinion which clearly ticked him off. I think he's partly right. Rhydian next!!

7.11pm: It's the break and I've cracked open a bottle of Magners. It's never too early, let's be honest. It's an ad break on ITV so I'll take this opportunity to post my scores for the dancing in order of Best to Worst. Not really any awful ones this week, but at the same time not much inspiration. Here goes:

Gethin & Camilla - 9/10
Alesha & Matthew - 9/10
Dominic & Lilia - 8/10
Penny & Ian - 8/10
Kate & Anton - 7/10
Kelly & Brendan - 7/10 (disappointing!)
Letitia & Darren - 7/10
Matt & Flavia - 6/10
Kenny & Ola - 6/10
John & Nicole - 6/10

7.10pm: Penny and Ian are last to dance. They are so tall yet have so much grace!! It's the most Hollywood of the night. Didn't love it but very very classy. 8/10. They get 35, second highest of the night, and that's the end of the performances. My favourite was Gethin!

7.05pm: Matt gets good reviews. I don't know his score because FutureProof are up now on X Factor. They're singing'Can't Take My Eyes off of You', but not as well as Heath Ledger!! It's dated, and it's a solo song, but they're suave and sing it well. 7/10

7.00pm: Leon is not great. Very cabaret, and he has little individuality 6/10. Matt Di Angelo is doing the paso. It's a bit too intricate for me. I'm longing for any hip action at all, frankly. 6/10. Leon gets good reviews from the judges. Meh

6.55pm: Leon is up first. Bless him. He's so genuine but I'm not his biggest fan up until now. Kate gets 26 in Strictly. Well done honey.

6.55pm: She actually isn't awful, but I do feel she's the dancing equivalent of Orlando Bloom. Likeable but decidedly wooden in places. Someone needs to cut her a break. 7/10

6.50pm: From now on Strictly will be purple, X Factor will be red. Dominic gets 25 and is pissed off. I'm not surprised. He deserved better. Oh god. Kate Garraway is next. I'm flicking to X Factor.

6.45pm: Dominic and Lilia's paso doble definitely feels latin. I love the music. I feel transported to another country. Really good. 8/10. X Factor is starting.

6.40pm: Alesha gets 36, including a 9 from Craig. She clearly was very surprised. The foxtrots have been way better tonight, so let's hope Dominic and Lilia's paso doble improves on the others.

6.35pm: Kenny gets 21 and could be in trouble, although the kilt will go well with Scotland, which is his probable main fanbase. Alesha and Matthew are on. Alesha looks so pretty. Their foxtrot was elegant and looked faultless to me. 9/10

6.30pm: Gethin also gets 31. Kenny is wearing a kilt for his paso doble. Hot! Got a flash of cheek too. Haha. It wasn't great. 6/10.

6.25pm: Letitia gets 31, which I think is a bit generous. Gethin and Camilla's foxtrot was gorgeous. He has so much charm. 9/10

6.20pm: Letitia and Darren are interesting. I feel like I'm watching a musical. Plenty of drama. I can't say her dancing has particularly improved though. 7/10

6.15pm: John gets 24, including a 4 from Craig which was a bit cruel. Letitia Dean is next.

6.10pm: I like John and he did alright with the foxtrot, but it was very dull and uninspiring. 6/10

6.05pm: Kelly gets 28, which matches my score, even though I felt they were a bit harsh on her. John Barnes is next.

6.00pm: Kelly and Brendan are electric although she seems a little more ragged than usual. More style than substance but I liked it. 7/10

5.55pm: The show starts in a typically wonderful humour. Bruce is on top form :) This is easy until I have to flick over to X Factor at 6.45. Then I'll be frantic.

97. Lifeboat (1944)

Directed by Alfred Hitchcock

Starring: Talullah Bankhead, William Bendix, Walter Slezak, Mary Anderson, John Hodiak, Henry Hull, Canada Lee, Heather Angel, Hume Cronyn

When several survivors of a battle between a ship and a German U-boat board a lifeboat, they have to work together to make it to safety. Chief among these survivors is Connie Porter, played by the incredible Talullah Bankhead (and by incredible I mean, 1944: Ingrid Bergman, Barbara Stanwyck, eat your heart out). Connie's neutrality amidst a fervent sense of warfare (she is an English journalist, but can speak German and appears to abide by a policy of self-determination not dissimilar to right-wing German atittude at the time) acts as the mediator in a group pulling itself apart.

Lifeboat is itself an examination of how politics can manifest itself in a situation that, admittedly takes place in a political environment, but is essentially a battle between life and death. The dynamic of the group is believably and tangibly fragile, the pressure of their plight pushing each survivor to the darkest boundaries of their character, political or otherwise. Above all, it may be seen as a piece of social commentary; a metaphor for the casualties of war being 'all in the same boat'. It's rare that a film with such a promising concept fully lives up to it, but Lifeboat does just this. It's compelling from beginning to end.

Saturday Night's Alright For Fighting

I haven't pitched in much about the annual Saturday talent show battle between the fun and classy Strictly Come Dancing, and the tacky but nevertheless entertaining The X Factor this year. Firstly, I wanna say how fucking annoying it is that they have to compete with each other over ratings -- my fingers hurt from constantly flicking between the two. I find this particularly difficult to understand given that Strictly has proven to be the more popular of the two. ITV are much more geared towards competition, and so it seems odd that they are doing themselves a grave disservice in pursuing a battle with BBC. Although, there's a difference of an hour between the start of each programme tonight, so they may be finally starting to take the hint.

So.. I suddenly feel obliged to throw in my two cents, given the scandalous (and admittedly juicy) events of the past week. I'll start with The X Factor, which is a shamelessly commercial and manipulative venture that, let's face it, represents ITV's approach to programming very well. Having said that my curiosity and general inability to ignore music reality shows means I'm already hooked -- especially for my looovely Rhydian (but I'll get onto that later).

So onto the scandal. It turns out that Emily, a contestant who constantly weeped on camera about nearly dying (she had organ failure and her heart stopped beating for a couple of seconds, or something?) is quite up for a good ol' scrap. There is video coverage of her attacking a girl in the ever-growing aspect of youth culture deemed 'happy slapping' (which basically means bullying on camera). Her parents were so incensed that they withdrew her from the competition (nothing to do with the producers I'm sure). All laughing aside, I think it's a fairly grounding situation for the show that I sincerely hope leads them to evaluate the extent to which they build their contestants up as saints -- whether they be single parents, grief-stricken relatives, or any other alleged victim of which there are plenty NOT on television.

All this makes the layout of eliminations throughout the series uncertain but apparently there will still be one tonight. I'll post my verdicts on the performers after tonight's show, and of course reactions to results, which have tended to be more comprehensible on Simon Cowell's show than they are on rival show Strictly Come Dancing.

Strictly's results storm last week, which ended in presenter Gabby Logan being eliminated from the show, despite coming in the top half of scoring has provoked a lot of response. Even more perplexing is that the other couple in the bottom two (Penny Lancaster-Stewart and her partner Ian) had more points than Gabby and her partner. It makes you wonder if this is a dancing competition or a popularity contest. Kate Garraway, who stuck her oar in midweek with a defence of the public, has been the main winner from this, coming bottom of the scoring in the last two weeks but not in the bottom two after the audience had their say. Still, this surely can't go on for much longer. The hopeless Garraway is hardly the most famous of the celebrities taking part.

Again, I'll be giving my opinions on all the dances (not that I'm an expert on dancing or anything) later tonight. Needless to say my favourite is the model-cum-actress (I say 'actress' loosely) and one of my "I so would if I was even vaguely attracted to girls" girls, the gorgeous Kelly Brook.

Anyway, that's enough from me. Enjoy the saturday night's entertainment ... and remember. Keeeeeep dancing!

Genius

The divine Madonna doing what she does best. This is one of my favourite of her songs.

Inter-War Years - Top Ten Performances

10. Charles Laughton - The Private Life of Henry VIII (1933)
Awards: Won Oscar (Actor in a Leading Role)

Charles Laughton was one of the old guard: a charismatic and fearless presence on stage and screen. As Britain's most famous (or should that be infamous?) monarch he tears through his subjects and creates a rather touching portrayal of what is an essentially cruel and dislikeable leader. The film is rather hurriedly put together, and doesn't really ask too much of him, but Laughton eeks every bit of life from what was, even then, a fairly routine character.

09. Anny Ondra - Blackmail (1929)
Awards: None

The Eastern-European actress was dubbed in Hitchcock's first sound-included film, which makes her performance even more of a revelation. I'm not a fan of the film but Ondra's absorption of guilt, horror and subsequent mental collapse is raw and wholly convincing, adding dimensions to the character of Alice; Hitch's first female victim, and perhaps his best.

08. Lionel Barrymore - Grand Hotel (1932)
Awards: None

I can't help but fall in love with Barrymore's performance here as a desperate dying man trying to live out his days in the luxurious Grand Hotel. He's successful in winning you over with his hopeless, resigned, yet curiously warm persona, the vital cog within the film's message of class and community now commonly associated with the serial drama. He is crucially, and adorably, a man of the people.

07. Cary Grant - The Awful Truth (1937)
Awards: None

The wonderful thing about Grant as a comedy actor is that he can play both the unstable hapless victim (Bringing Up Baby, Arsenic and Old Lace) and the sly, scheming charmer, seen in His Girl Friday and most wonderfully Leo McCarey's The Awful Truth. Grant revels in his love/hate relationship with Dunne, and sells every wisecrack with brisk, perfect timing and unrivalled charisma.

06. Claudette Colbert – It Happened One Night (1934)
Awards: Won Oscar (Actress in a Leading Role)

Shrewdly leading while being led, Colbert gives a warm, funny and incredibly infectious performance that is the heart and soul of Capra's It Happened One Night. Thanks largely to her, even at its most heightened points of escalation, everything in the film feels like a natural, swift, and delightful jaunt.

05. Fredric March - Dr. Jekyll and Mr. Hyde (1931)
Awards: Won Venice, Oscar (Actor in a Leading Role)

Aside from the obvious make-up gimmick (he plays both Jekyll and Hyde), March is scrumptiously brilliant as the classic hero/villain, capturing the spiralling madness of a doctor both dismayed and excited by what he has achieved, and the subsequent struggle between his double-persona.

04. Katharine Hepburn - Bringing Up Baby (1938)
Awards: None

Her manic, frustrating inability to listen or acknowledge the concerns of, not only Cary Grant's doctor character, but indeed anyone she encounters, is both hilarious and infuriating. It takes some audacity to carry off a character like this, and expert comic timing. She has both in abundance.

03. Irene Dunne - The Awful Truth (1937)
Awards: Nominated for Oscar (Actress in a Leading Role)

It's an utter joy watching Dunne try to convince both herself and her husband that she's happy enough without him when she clearly isn't. Their one-upmanship throughout the film is enthralling, Dunne staging an act of comic genius towards the end that is the final victory in a mammoth battle of pride.

02. Cary Grant - Bringing Up Baby (1938)
Awards: None

Grant's best comes when he reacts to the ever-increasing mania going on all around him, (i.e. in Arsenic and Old Lace, possibly the finest comedic performance there's ever been). In BUB his behaviour and rationality fades in sync with this ever-maddening environment, his character eventually reduced from skepticism to acceptance in what is a rousing reversal.

01. Renee Falconetti - La passion de Jeanne d’arc (1928)
Awards: None

However hard I try I can't see past Renee Falconetti's figure of victimisation and sacrifice. As the saintly Joan of Arc she's poked, prodded, interrogated, ridiculed and eventually put to death in what is essentially a slaughter. Her plight in this way encourages us to sympathise and remember Falconetti as the martyr she's portrayed, but, likening the performance to another cinematic victim, Bjork's Selma in Dancer In the Dark (a performance I cherish), it achieves so much, without anywhere near the same quality of tools at hand, or level of characterisation. Falconetti is as exposed as any actor has ever been asked to. She is everything; the essence of injustice, the mark of faith, the truest protagonist.

98. Ten Things I Hate About You (1999)

Directed by Gil Junger

Starring: Julia Stiles, Heath Ledger, Joseph Gordon-Levitt, Larisa Oleynik

This might seem an odd one to include in an all-time Top 100 but whenever I'm dismayed at the barrage of crappy teen movies being produced at the moment, or even just when I'm feeling a little goofy, I pop this wonderful example of a romantic comedy into the DVD player.

Based on William Shakespeare's The Taming of the Shrew it embraces teen culture and its shallow, black-and-white demeanor, while never losing its Shakespearian foundations. The script is consistently witty and dynamic, with excellent characterisation and executed finely by a wonderful young ensemble, led by an energetic and tireless turn from the revelatory Julia Stiles as the shrew, Katarina Stratford.

If you haven't seen it, please do.

Mini-Reviews (Batch 1)

Death Proof

Directed by Quentin Tarantino
Starring: Kurt Russell, Vanessa Ferlito, Rosario Dawson, Rose MacGowan
Grade: C+

Originally coupled with Robert Rodriguez' Planet Terror, as part of Grindhouse, a double-bill homage to B-movie's, Death Proof is the latest directorial feat of the infrequent Quentin Tarantino. It follows two groups of four women as they encounter the mysterious and dangerous Stuntman Mike (Kurt Russell) in two separate incidents, both of which end up in a bloody mess.

Both groups of women exchange long periods of conversation that admittedly reveal little about them, but do provide some funny, snappy, and at times electric dialogue that give us enough to care about and/or relate to them. It's clear from the character of the 'Bride' in the Kill Bill movies that Tarantino has decided to exercise a more feminist approach to the role of women in action films, and thus we are treated to what is essentially a tribute to them. There is a definite subversion of gender roles evident with the traditional qualities of women in the genre (physical beauty and relative kick-ass ability) remaining but used to ultimately convey their superiority over men in what acts as a conceptual rebirth.

But to dig much deeper into the film would be contradicting the style in which it's made. Many will be dismayed at Death Proof's abandonment of any real attempt to adhere to any narrative structure, nor to detail the motivations of its characters beyond thrill-seeking. There's few who can get away with it but Tarantino has always been one to put the pleasure of his audience above cinematic protocol, and his passion in this respect amazingly atones somewhat for the film's often senseless disregard for clarity or cohesion. Death Proof may be a cinematic rebel of the most unfastidious variety, but there are few films this year I would rather be subjected to two more hours of.

Disturbia

Directed by D.J. Caruso

Starring: Shia LaBoeuf, Sarah Roemer, Aaron Yoo, David Morse, Carrie-Ann Moss, Jose Pablo Cantillo
Grade: B

Shia LaBeouf stars as troubled teenager Kale Brecht, who, after his Dad is killed in a car accident, struggles to cope with his grief, culminating in his assault of a teacher. The result is that he's put under house arrest for three months, but as Kale's boredom sets in he begins to develop a deep fascination with one of his neighbours' sinister activities. Couple that with a hot young blonde moving in next door and his punishment becomes a little more difficult to tolerate.

Undoubtedly the film bears significant resemblances to Hitchcock's 1954 masterpiece Rear Window, substituting James Stewart's broken leg for Shia LaBeouf's tracking device, and so forth. Indeed it's pre-decessor is often mimicked in the film, most notably by its villain Robert Turner (David Morse), a near-double of Rear's chilling antagonist Lars Thorwald. But what of this mimicry? Disturbia is most definitely an attempt to bring a classic story to a younger audience, re-vamping it through romance, gadgetry and the presence of youth. It's fresh, compelling, and has a script that's close to the tightness of the '54 classic, exercising a volatility that works well with the more impulsive younger generation Disturbia represents. Where it does fall short is with regard to voyeuristic obsession and combative showdown, of which it teeters, more than once, on the brink of teen-slasher territory.

The main reason for the film's success however, probably resides with Shia LaBoeuf, who demonstrates a charm, cuteness and likeability that you just cannot help but root for. His troubled, misunderstood badboy demeanor forming the basis for Disturbia's continual sense of injustice, Shia's Kale is a 'have-a-go' hero of the most convincing stature, driving our interest through his. LaBoeuf is more the dark wannabe than Stewart's bored busybody, and in this way epitomises Disturbia. But there's nothing wrong with being the dark wannabe. Such is youth.

The Brave One

The Brave One

Directed by Neil Jordan

Starring: Jodie Foster, Terrence Howard, Naveen Andrews

Grade: C -

Perhaps the most aptly titled film of this year, Neil Jordan's The Brave One sees radio presenter Erica Bane (Jodie Foster) undergo an extreme transformation when she and her fiancee (Naveen Andrews) are brutally attacked by a gang of youths. Her lover does not survive the ordeal, and so Erica is left to deal with life alone, prompting her to develop a different, severely hostile attitude to the world around her; illegally purchasing a gun that inevitably features increasingly as the film advances.

It initially reads as a fascinating character study, our glimpse of Erica's cute, happy-go-lucky, loved-up character being moulded into something dark and ugly. As Erica transforms, Foster carries with her a bitter and desperate thirst for vengeance that sidesteps the self-righteous nobility that could so easily have been manifested with a character as tragic and wronged as this. The self-evaluative nature of Erica is forgivably analysed through voice-overs throughout, which do mix well with the feel of the film, despite contributing little emotion or insight.

As Erica begins to get into a few scrapes, she attracts the attention of both the police, led by Detective Mercer (Terrence Howard), and the media, who deem her "the vigilante". But as The Brave One bounds on it becomes less of a battle between grief and morality than it does a confused smattering of ideas. It seems to be battling most with itself, as the plot progresses in an all too convenient, and resultantly contrived manner. Erica confesses mid-way through the film that her newfound persona, the 'stranger' inside of her, is one that looks for trouble. But it's an all too lame excuse to justify the ease at which she finds this trouble, especially given the somewhat random nature that two of the events in question occur.

Erica conducts a radio phone-in on the public opinion of the 'vigilante', only to receive a mixed response; some treating her in the ilk of a super heroine, others condemning her for taking the law into her own hands. It comes at a particularly ruminative point in the film, and is perhaps intended to reflect the differing political, moral and ethical values of its audience, but does transfer as unncessary, and in truth a bit obtrusive. It's at this point in the film where Erica begins to develop an unlikely relationship with the Detective attempting to track her down, his curiosity with her ordeal and subsequent public questioning of New York City crime drawing them together. Foster and Howard have a definite chemistry, their careful interplay surprisingly convincing, given the film's other contrivances. Their relationship, however, moves at a fairly unnatural pace, and does lead to a couple of needless plot devices that signal the film's intentions way too easily.

Credit Jordan for his assiduous approach to the film's prevalent theme of bravery. He makes us think about what exactly it takes to be brave, and whether bravery is as admirable a quality as its reputation would imply. What is bravery? Is it acceptance? The Brave One questions both Erica and Mercer, whether she is brave for confronting the world that took her husband away and whether he is brave for risking his career to cut her a break.

But the finale of The Brave One seems to reject the attitude and values of both it's characters' towards the vigilante. Foster's Erica -- a woman without regret, but who recognises that her actions are morally reprehensible, or Howard's detective, who begins to grapple with his own conscience, as he puts the pieces of his vigilante case together. Jordan wants us to think about who 'The Brave One' actually is, but as the hunt for Erica's fiancee's killers is ever more overshadowed by her relationship with Mercer, it becomes irrelevant and glaringly overblown. The Brave One is always watchable, occasionally admirable, and maybe even a little brave itself ; but its failure is best summarised in reaction to Erica's moral questioning, "How many wrongs to make it right?". The answer: one too many.

Oscars: Where They Stand {Best Picture}

Best Picture

As we near the end of September the Oscar races are now officially starting to hot up (yay!), and after the Venice and Tornto festivities we now have a clearer idea of what might succeed and what will surely fail. Many hopefuls remain untouched, so as to those one can only guess.

We may as well start with the probable Best Picture winner, Joe Wright's stunning Atonement. A sweeping statement you might say, but one that carries with it the enviable confidence of Atonement itself. Yes, it is really that good, and I honestly think this is very nearly a done deal. It's epic, romantic, grand, and is above all successful in its hugely ambitious statement.

But let's treat this as the race it is. Venice finished a couple of weeks ago, giving the coveted Golden Lion to Ang Lee again, this time for his sumptuous-looking period romance, Lust, Caution. It's hard to know how valuable the Golden Lion is in terms of the Oscars. Worryingly for Lee his film was poorly received by the Italian critics, ranked lowest of all the in-competition films. And lest we forget foreign films have enough of a disadvantage when it comes to Oscar, without reviews scuppering their chances. Lust, Caution's NC-17 rating is in itself a suicidal move if it wanted to appeal to the Academy. I can't see many people flocking to see this kind of film in America, Ang Lee or no Ang Lee.

Venice was also kind to Kenneth Branagh's Sleuth remake, which is supposed to differ a lot (in a good way) from its predecessor. I'm dubious as to whether it can make the Picture lineup, since it is in effect a rejuvenation of a film popular with the Academy. It's also a very short film. Something we know AMPAS does not associate with the prestige of a Best Picture nominee. I think that Oscar are more likely to go for their man of the moment, Paul Haggis, brimming with buzz once again after his film about an Iraq soldier (In the Valley of Elah) got great reviews in Italy. It seems to be going for the AMERICA AMERICA AMERICA route -- one that's likely to appear very profound and meaningful regardless of whether it is or not.

Along with the triumphant Lust, Caution Toronto's winning picture, David Cronenberg's Eastern Promises should also face difficulty getting a BP nomination. AMPAS have historically ignored Cronenberg for their major awards, his films perhaps a little too heavy for mass institutional backing. Indeed Toronto helped to eliminate a couple of earlier-touted films, Cate Blanchett's second stab at Elizabeth I, The Golden Age, which received less than inspiring reviews, and Terry George's Reservation Road, received poorly and dead in this race now, along with highly-fancied Joaquin Phoenix.

Philip Seymour Hoffman was the man that Toronto hailed, for his performances in both The Savages, which is increasingly beginning to look like the indie comedy BP slot this year, with a distinct absence of comedies, and Before the Devil Knows You're Dead, Sidney Lumet's film about a bungled robbery attempt. The latter does not seem like Picture material, although Lumet does have an undisputed record with AMPAS.

Of the other Toronto hopefuls the main encouragement was for the Coen bros. latest crazy crime film, No Country for Old Men, which has fantastic reviews. Oscar loves the Coens but one would hardly call this type of film easy to take. Juno, a quirky film about a girl who gives her baby up for adoption, is also garnering praise, but will probably be too slight to feature on this kind of scale.

I don't have much hope for Once, however much everyone has loved it this year. It's just too small, and too indie without any showy sense of purpose, to get enough votes. Similarly I doubt Tim Burton, who has been royally screwed over by Oscar in his grand career thus far, will break through with Sweeney Todd, a typically dark and cartoonish Burton-esque story. For some reason films like this just aren't deemed credible enough.

As much as I admire Ridley Scott the American Gangster trailer hardly instigates a frenzy within me, and it certainly does not have baity themes to flaunt. But it does have a stellar cast, and is bound to be well-made. Gavin Hood and Susanne Bier have previous success with low-budget projects but now find themselves in bigger territory. The trailers look good (especially Rendition), but will they succeed? I'm reserving judgement for now.

But amidst this festival fever I can't help thinking that people are forgetting about Mike Nichols' Charlie Wilson's War, which was a favourite in the year's early months, and which boasts a confident release date and impressive list of cast and credits. Hard to know without a trailer but on paper, it's strong.

Predictions:

• 1. Atonement (Lock)
• 2. In the Valley of Elah (Very Likely)
• 3. There Will Be Blood (Likely)
• 4. The Savages (Maybe)
• 5. Charlie Wilson's War (Maybe)
  

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Alternates:

• 6. No Country For Old Men (Maybe)
  
• 7. Rendition (Maybe)
  

Sunshine (2007)

Sunshine
Directed by Danny Boyle
Starring: Cillian Murphy, Chris Evans, Michelle Yeoh, Rose Byrne
Grade: A -

*Contains spoilers*

Six astronauts set out to implant a device in the Sun so that it does not die within the next century, in this action-adventure by Trainspotting director Danny Boyle. Hearthrobs Chris Evans and Cillian Murphy play the red-blooded males of the ship, who endure many trials and tribulations on their way to the perilous light source of our solar system.

The astronauts themselves all feel the burden of responsibility and are thus presented with the moral and ethical conflicts of being, essentially, soldiers going into battle. The group, even at their most disagreeable, all seem geared towards their given goal, instilling the journey with a heightened significance. It's almost irrelevant that they have little identity singularly, because they serve to represent a decision, a stance, a mission, that reflects that of war itself. As the crew progress on their journey things become increasingly unhinged, the six confronted with decisions that create resentment and unrest. Almost as if the spaceship itself be closing in around them there is a chilling inevitability about the crew and their mission. A vicious, palpable, nauseous tension in the air.

As a visual spectacle, the sight of space, and the Sun in particular, is nothing less than breathtaking. The aesthetic treatment of the celestial body throughout the film that of respect and authority, alluding greatly to nature's awesome power. It is with this idea then, of the Sun as a living entity, a beacon, a symbol of life, that the scale of the mission becomes intensified. As the ship grows closer to the sun the inhabitants alter -- they lose their individual voice, begin to possess some form of guilt. This can be attributed to Sunshine's continual idea of God as the sun, and questions of man versus nature that threaten to, and eventually do, erupt. Do we have a right to tamper with nature for our own means? Is their mission to cheat death or prevent it?

The final act of the film has fallen under a cloud of debate, as it admittedly carries with it much melodrama. The introduction of an additional character alters the tone of the film, and leads to a crescendo of action in the last few minutes. Up until then Sunshine had been both a glorious sci-fi adventure and a psychological thriller, but at the precise moment where the feel of the picture shifts, its themes of spirituality, horror, and adventure come together to create what is an exhilarating finale. I think it's fair to say that the suddeness with which this occurs allows some of what has taken place to be diluted and dismissed, however, the film retains both its blockbuster appeal and its spiritual subtext.

The mystery 'villain' introduced to us may at first appear familiarly archetypal, but the purpose behind the presence of this person, and what they represent, adds dimension to the character -- if indeed we can refer to him as a character. The man can be seen as God (the Sun's) messenger, strengthening the sense of 'battle' between nature and artificiality, or more fascinatingly as a personified product of the group's conscience -- their internal conflicts, their engulfing dread.

So when the time finally does come to save the day it's with, at first, sombre acquiescence, and then uplifting martyrdom, that Sunshine bows out. As a whole, it stands as a patiently-built, fine piece of sci-fi cinema, and a definite visual feast upon the eyes. It forces us to view the ship and its passengers on both a grand and smaller scale, giving us a fiercely entertaining time in the process, and must be congratulated on the large sucess of its provocative spiritual voice.