More Freaky Hills

The Hills Have Eyes 2

Directed by Martin Weisz

Starring: Jessica Stroup, Michael McMillan, Jacob Vargas

Grade: C-

I was not without praise for Alexandre Aja's remake of brutal 1977 horror 'The Hills Have Eyes'. Wes Craven, who directed the original, pens this sequel, which sees a group of National Guard trainees venture into sector 13 after the disappearance of a troop based there. The first scene of The Hills Have Eyes II is vile. A woman gives birth to a mutant baby, a mutant yanking the baby out by its head, the umbilical cord in full view, a distasteful and sickening sight. Craven may well be playing up to his cult status here with this hard-hitting bloodthirsty statement, but its a message of things to come.

Last year's remake has certainly bloomed more positively in my mind as time has gone on. I think, initially, for me, it was hard to distinguish between how much of what the film achieves is down to its explicit shock tactics and how much is created aesthetically. Speaking in terms of narrative, the fact that both 1977 and 2006 versions of the story centre around a family certainly intensifies our feelings towards the protagonists, which is absoloutely key in terms of horror. Perhaps that's why this sequel feels more of an exercise than it does a battle. The group are loosely bound by a comradeship that's fairly thin, none of the characters on show displaying any type of identifiable pain or strength -- the only real attempt at creating empathy involving a video of one of the women's son on her mobile phone. But Hills II feels less about maternal and communal instinct than it does about internal affairs, and the battle between institutions and outsiders -- a bold yet puzzling concept, given Aja's efforts to focus on family and distance the mutants' humanity evident in Craven's original.

Indeed, it seems that Craven's updated story veers from Aja's course, in some ways re-discovering more closely the nature of the mutants, and the strength they pose as a united force. Again, there's a 'good mutant' that aids the group in their quest to escape. Yet in other ways dismissing their actions as evil and leisurely rather than harsh and practical, which is a tad contradictory. In any case, these latest Hills are just as gory, and just as claustrophobic. It's just a shame that the film doesn't have as clear a direction as last year's, and isn't anywhere near as polished, leaving you with little to take from the experience. Well, maybe a slight shudder at the thought of a third installment.

First 2007 Oscar Predictions [Major Categories]

Picture

American Gangster
Atonement
Lust, Caution
My Blueberry Nights
There Will Be Blood

Director

Paul Thomas Anderson - There Will Be Blood
Todd Haynes - I'm Not There
Ang Lee - Lust, Caution
Ridley Scott - American Gangster
Wong Kar Wai - My Blueberry Nights

Actress In a Leading Role

Cate Blanchett - The Golden Age
Julie Christie - Away From Her
Marion Cotillard - La Vie En Rose
Norah Jones - My Blueberry Nights
Laura Linney - The Savages

Actor In a Leading Role

Don Cheadle - Talk To Me
Russell Crowe - American Gangster
Daniel Day-Lewis - There Will Be Blood
Benicio Del Toro - Things We Lost In the Fire
Johnny Depp - Sweeney Todd

Actress In a Supporting Role

Abbie Cornish - The Golden Age
Romola Garai - Atonement
Natalie Portman - The Other Boleyn Girl/My Blueberry Nights
Susan Sarandon - In the Valley of Elah
Meryl Streep - Rendition

Actor In a Supporting Role

Philip Bosco - The Savages
Bruno Ganz - Youth Without Youth
Clive Owen - The Golden Age
Alan Rickman - Sweeney Todd
Denzel Washington - American Gangster

Euro Fever

Woohoo! With just.......46 days remaining until the final of the 2007 Eurovision Song Contest, I've decided to get into the spirit of the event. As you might have gathered from my enthusiasm last year this is one of the highlights in my calendar. As much as it may be mocked and disliked, Eurovision is one of those institutional events that, even in it's absurdity, is almost regarded as an obligation throughout Europe, and bizarrely still makes a lot of headlines. It's also very gay, which I like (duh). Lol.

Here is the list of Semi-Final Participants with a link to a preview of each song, and here is the order of songs for the Final, with gaps to fill.

That's all for now but I'll leave you something to think about. A picture of one of the semi-final entries, Switzerland's song "Vampires are Alive", by Dj BoBo. Lol. Yes, I know. Crazy.

The Death of Production Design

More to follow...

Becoming Jane (2007)

Becoming Jane (2007)
Directed by Julian Jarrold
Starring: Anne Hathaway, James McAvoy, Julie Walters, James Cromwell, Dame Maggie Smith
Grade: C+

It seems that the British film industry simply will not leave the genre of the period drama alone. Not content with adapting a handful of Jane Austen's novels (Sense and Sensibility, Emma, Pride and Prejudice) to both television and the big screen, Becoming Jane chronicles the romantic flounderings of Austen herself, and chiefly her relationship with trainee lawyer Tom LeFroy. 'The Devil Wears Prada' star Anne Hathaway is installed as the popular literary romanticist, and is one of few Americans in a cast dominated by Britain's tried and trusted thespians, among them Dame Maggie Smith, Julie Walters, and ascending star James McAvoy, who plays Austen's love interest.

I think it would be considerably more favourable to take the film with a pinch of salt -- as an entertaining distraction rather than a social portrait. Many of the plot devices used are very familiar to those within Austen's own novels, questions of love versus finance, the importance of honour and reputation, the meandering status of the couple(s) in question. Additionally Austen's strong, feminist traits; Her writing, which marks her as less dependent than many of the film's other female characters, her reluctance to marry for money, and her charismatic sharp wit that almost instantaneously draws you in, suggests that her literary heroines are partly autobiographical. But as much as the film follows Jane's personal struggles, the basis of the film is in the shaping of her literature rather than her life. There's very little here that we haven't seen before, so if you're looking for an eye-opening insight into the life of Jane Austen, you certainly won't find it in Becoming Jane.

As a melee of Austen's fictional charm and wit, Becoming Jane may be mildly successful, but the work in question doesn't vary enough for us to see much degree of thought or integration in the narrative, and effectively, there's little more to it than replacing Austen with Lizzie Bennet, or Emma Woodhouse, or Elinor Dashwood. But while Jane doesn't vehemently challenge, or offer up anything new, it's very watchable. It's just never great, and never really sure of itself.

2006: The Overrated and Underrated

As you may have guessed, I've decided to get cracking with my 2006 awards. I haven't seen some films but I likely won't see them until the summer so it's best to finalise these now, while they have at least some relevance.

There are always films by which their critical reaction completely baffles me. It seems that people can jump on a negative bandwagon for many number of reasons, and equally consume the media hype of others. Some of these films maybe I just don't get, but these are the films I feel were rated far too highly, and the ones that really didn't get their deserved glory.

The Overrated

5. Blood Diamond

It's difficult to concede that of all the political and action thrillers of late, this messy second-rate exercise is among the better of them. Don't get me wrong, it's perfectly watchable. But its characters are very 2D, and the filmmakers are dependent on Di Caprio's deserved Oscar-nominated performance to make it seem like there's a little more to it.

4. Flags Of Our Fathers

It's like any Eastwood film is commanding respect nowadays. Flags definitely has a point it's trying to make, but it's all a little too generic and limp. The battles scenes are excellent, but the structure of the film as a whole is quite chaotic, the film unnecessarily flashing backwards and forwards every five minutes. This isn't a good film.

3. Dreamgirls

I so wanted to like this but at times it feels almost amateurishly put together, from the staging (very odd) to the direction (ragged), to the music (uninspiring - bar one song). It contains a couple of good performances and a host of average ones, and doesn't really grab you the way a musical really should.

2. Thank You For Smoking

Aaron Eckhart is very fun, and consequently breathes life into the film, but I can't help but wonder what on earth we're supposed to take from it. The topic itself isn't challenged a great deal, and neither are the other themes (family, trust). An incredibly strange debacle if ever I saw one. Oh, and its supporting players are less than satisfying.

1. Apocalypto

This just pisses me off. If you're going to make an action film, make an action film. Don't try and dress it up as some kind of historical and cultural insight. Mel Gibson's film is almost entirely independent of context, the extent of Mayan culture being reduced to brutality and mythical supernature, and the narrative a simplistic bore.

The Underrated

5. Silent Hill

I think a lot of critics have a dislike for this kind of blatant commercially motivated project. Ironically though, it's artistically expressive - atmospheric, lively, entertaining, well acted. Granted, the plot is less than polished, but for the most part it works, and works well.

4. Poseidon

People really have to ask what they want from a blockbuster. Even the most successful blockbuster of them all, Titanic, has its major flaws. But this kind of genre has historically, and really should be forgiving of cheese, and a certain amount of obviousness. The questions that should be asked of it are: Does it thrill? Is it worth your time? The answers are yes.

3. Deja Vu

A pulsating, thrilling, excellent film that pushes the boundaries of action, science fiction and crime, demanding attention in its two-hour onslaught. Perhaps the reason why this wasn't as well received as it should have been is because of the surrealist nature of one of its plot devices (concerned with time travel), and the neatly-wrapped ending. Nevertheless, it's certainly the most enjoyable cinematic experience I had in 2006.

2. Marie Antoinette

This was never going to be for everyone. When somebody tries something different, they're always going to get their fair share of haters, and Coppola certainly has that. Yet as awkward as it is in places, its themes are constantly being explored, something that was very absent in 2006. Plus it has perhaps the greatest soundtrack ever assembled. Give it a break!

1. The Good Shepherd

The only reasons I can really think of for this film receiving mixed reviews, and very little awards coverage is because of its topic and running time. Let's face it. I doubt many people were jumping up and down when they heard Robert De Niro was going to make a movie about the C.I.A. It's hardly going to guarantee a rousing time. But Shepherd was badly treated. It's a solid, excellently composed film, and I hope that people come to realise this in the future, when they look back on this sorry year.

Abbos Kiarostami's Ten (2002)

Iranian director Abbos Kiarostami, whose only previous film I've seen is the exquisite, beautiful Taste of Cherry (1997), is renowned as an experimental filmmaker. His 2002 film Ten records ten conversations between a woman, and the passengers within her car. The conversations range in intensity, intimacy, and purpose; the woman exchanging speech with her son, two of her friends, an old woman, and a prostitute.

Taking a recent example, Paul Greengrass' United 93 (a film I dismissed a little too quickly, partly because of its genre), re-enacts the events of 9/11 (or at least some of them) to compelling and dramatic effect. Many of the characters in the film take action in the same manner we know them to have done on that day in 2001 -- some even playing themelves. Indeed, much of Greengrass' filmography can be quite comfortably assigned to the 'Docu-Drama' sector; but Kiarostami's Ten is a different commodity altogether, and certainly a more difficult film to classify.

The camera(s) remains in a relatively fixed position within the car, giving an air of intrusion into personal space, an up-close authenticity that is stark and impacting. Much like reality television it turns us into voyeurs, absorbing the information we receive; judging the personalities we encounter. It's very difficult not to get wrapped up in the many issues being lampooned around.

The most intriguing and provocative relationship on offer is between mother and son. This accounts for most of the conversations, and throughout them all there is constant unrest. The first conversation in the film is particularly difficult to watch, as they fight over various issues, the most prominent of which is the divorce between the mother and father, which has left both mother and son bitter about various things. It's in this conversation though, that the film is at its most problematic. The claustrophobic method of filming imposes the issues in question upon you in a relentless, almost torturous fashion. Whether they are essentially real or not, this method suggests an element of reality, and therefore the scene often appears rather wayward; especially when the mother proceeds to quote poetry and refer to metaphors of stagnant ponds. Much of her input in this initial conversation is flowery, and detracts from the naturalism of the episode.

Indeed, the character of the driver is not a likeable figure. Aside from lecturing her son in an irrational and often childish way, she goes on to pick up a prostitute, interrogating her about her job, admit to both her friend and her son that she doesn't want him to live with her, and ramble insensitively to her clearly distraught friend. Recent Iranian cinema has been keen to enlighten on the repressed role of women in the country (notably The Circle, 2001) and the proposed role of women in society is explored here. The driver has clearly adopted a more Western, independent and post-modern mentality towards womanhood, and its with this that she proceeds to challenge her passengers: her son's masogynist views, her friend's dependence on her husband, the prostitute's need to be desired by men. But while Kiarostami uses this woman to provoke response, her interrogative nature, whether improvised or scripted, can be construed as both disrespectful and rash.

It's only really when the boy is on screen that the themes of the film begin to take shape, and the struggles between gender and family appear at their most natural and powerful. His anger is emotive, and believably a product both of Iranian society's treatment of Women, and of the rebellion of his mother against her imposed role. Kiarostami's Ten is an examination of this, and subsequently has elements of documentary about it, yet its interrogative tone often descends the film into episodic soap opera, almost alienating some of its characters as fixed representations. It's with this serial-esque account that the line between reality and fiction is continually blurred within the film. Are people really this eager to impose their own values? I'm not so sure.

Grade: B-

Oh. My. God.

I used to like Jim Carrey as a dramatic actor, and would actually give him the oscar in 1998.

The digits of 1998 add up to 27.

I had two slices of toast for breakfast.

27-2 = 25

I chewed a piece of gum for 3 hours last friday.

25+3=28

My favourite colour is blue. It has four letters.

28-4 = 24

My favourite ice cream flavour is pistachio. It has nine letters.

24-9 = 15

The date today is 05/03. The digits of this add up to eight.

15+8=23

Co-incidence? I think not. *Strokes imaginary beard*

Oscars - Reaction

It feels not long ago since the post-Crash morning last year, and now we're back here again. Awards season is over. We have to wait 364 days until 2007's films are crowned. In the next couple of weeks I'll start my 2006 personal film awards (because I live in Britain and release dates are horrific), and then I'll make my first 2007 Oscar predictions sometime in April. So here are my last words on the Oscars for this year. Hope you all had a fantastic awards season, and at least everything wasn't a done deal.

Fashion

Best Dressed

5. Helen Mirren - Looked royally superb in a light, peachy looking thing that made her look at least 15 years younger.

4. Cameron Diaz - Some people didn't like this but I thought she sold it very well. A long, white dress with a strange flap at the chest that I thought worked very well. Sharp and memorable.

3. Reese Witherspoon - I love the new Reese. Her beauty looks so effortless. Wearing dark purple she was a vision of elegance and the hair is gorgeous. Smokin' eye makeup. A star.

2. Cate Blanchett - I love, love, love the colour of this dress. A kind of steely grey its single strap on the left shoulder flattered her statuesque figure but took nothing away from her beauty.

1. Rachel Weisz - What can I say? Perfect vintage dress that shimmered and sparkled like a 40s movie star. Her hair and makeup were daring, flawless, and worked so well with the dress. Gorgeous necklace too.

Worst Dressed

5. Jennifer Lopez - I really did not like this. Had some weird draping things above her cleavage. The hair was odd too. Not sexy.

4. Beyonce - Not good. The strap was lumpy and boring. I didn't like the layout of the dress either. The whole thing just looked bulky and over-the-top.

3. Anne Hathaway - The black bow on her chest was a mistake. White with a black bow? Just, no. It looked stuck on and her jewelery was hideous.

2. Jennifer Hudson - A boring brown dress, which I could kind of handle had she not put a silver metallic shrug on top of it that looked as if it had been bought at some "tragic, casual corner" for a miniscule sum.

1. Kirsten Dunst - Whoever made her collar needs to be hung, drawn, and quartered. Translucent pale collar with a baby blue dress? I love Dunst but this was a big big disaster.

Generally a good night for fashion though. Other pluses go to Gwyneth Paltrow, Maggie Gyllenhaal, and for the men.. Jackie Earle Haley, Jaden Smith, and the ever-smart Leonardo Di Caprio.

Film

My prediction score is 14/24. I'm pleased. This year was much more difficult to predict than previous years. Especially the tech's. Regarding the ceremony...

Plus Points

The Departed winning Best Picture, Director, Screenplay and Editing, taking home more prizes than any other film. It's about time we had a BP winner that really and truly deserves the title. It's absoloutely fitting that this should be remembered as Scorsese's year. His fim had more life, more punch, more polish than any of the other nominees. Bravo academy.

Happy Feet taking home the Animated prize. An Inconvenient Truth taking home documentary. A victory for global warming on all fronts. Milena Canonero's victory in Costume Design. We can now call Marie Antoinette an Oscar winner. Yay! Helen Mirren's speech. Regal. Engaging. Genuine. Jennifer Hudson's speech. Heartfelt. Oscary. Meryl Streep turning her smile effortlessly into an ice-cold glare at Emily Blunt and Anne Hathaway when they presented Costume Design. Fantastic. The standing ovation for Martin Scorsese and the continual modesty of one of the greatest living directors.

Minus Points

Ellen presenting. Bring back Billy Crystal. Forest's excessive and boring speech. Pan's Labyrinth winning over Children of Men in cinematography. The fact that nominees now only get a five -second clip, and not much longer than that to accept their prize. Surely they could cut down on the montages. Nobody cares.

Farewell.

Oscars 2006: Picture

So here we are. It's february 25th, and tonight is the biggest night of the year. Certainly since as long as I've been watching the Oscars I can't remember a Best Picture race as tight as this. Here's my take on the matter...


Best Picture

Babel
The Departed
Letters From Iwo Jima
Little Miss Sunshine
The Queen


Who should win? I haven't seen Letters From Iwo Jima yet. I managed to download a copy of it illegally(ssh -- oh don't judge me, I pour enough into the film industry the amount of films I go to see). Not the biggest Eastwood fan though, so I'm not expecting to be wowed there. Let's go through the remaining four..

I was hardly enthralled by The Queen. It's definitely good filmmaking but the characters aren't particularly deep, some being embarassingly cartoonish (Cherie Blair, Prince Philip, Alistair Campbell). Babel is my least favourite here. Again, it's well-made, but doesn't represent a great deal to me. Its 'message' about communication is a little too generic for my taste. The other two pictures, The Departed and Little Miss Sunshine, are both great in their own right. How can you not commit your heart and soul to Sunshine's near-perfect ensemble? But Scorsese's film is an exhilarating exercise in factional warfare and without doubt the finest movie here. The Departed gets my vote.

Who will win? Now, this is the question. There's a case for any of these five walking away with this statuette, and even though they may not represent the finest in cinematic talent, I can't say that I actively dislike any of them.

Little Miss Sunshine is the film that gained the most from the guilds (PGA, SAG and WGA wins) which would suggest it's in the lead, but things aren't always determined by precursors (Crash's victory last year serves as an example). This is a comedy, and few BP winners in the past couple of decades fit into that bracket. Comedy is looked down on. Having said that, it has very serious elements to it, and most of the people I've spoken to only have warm feelings about the film. Plus there's detractors for all of its rivals.

It's difficult to say how popular Eastwood's upset nominee Letters From Iwo Jima is, based on the fact that a) it's a foreign language film, b) it has very poor box-office figures, and c) after winning the NBR and LAFCA seemed to lose a lot of buzz, resulting in being snubbed by the guilds. History suggests that NBR winners = Oscars bridesmaids, and that's why I think it's the least likely to win. A lot of people seem to be downplaying The Queen's chances -- small, British, heavily dependent on its leading performance -- but it's been a continual presence in this awards season, and it could very well appeal to the aging Academy demographic. Plus America always seems to be fascinated by the royal family.

Martin Scorsese is still missing a Best Director Oscar, and indeed a Best Picture winner from his glorious career. The former looks an almost certainty, but he could take home the pair. Along with The Queen, The Departed has consistently been in the awards mix, included in almost every BP lineup, and taking home many critics prizes. But it lost the Globe, it lost the SAG, and it lost the BAFTA so it's hardly a formidable frontunner by any means. People were saying it was too action-orientated. Maybe they were right. Still, this is by far the best film, and made over $280m at the box-office. Commercial and critical champion often = Oscar winner.

I've been pondering my prediction in this category a lot. It's just so tough to call. Something at the back of my head is feverishly demanding I go for Babel though. Despite being critically much less liked than all of its rivals here, and admittedly very disliked in some circles, it seems like the most logical pick. The way I see it. Everybody votes for Best Picture. AMPAS may be a private organisation, but it has an internal community all of its own. Babel is the film that most tries to appeal to everyone, and its overtly self-important multi-narrative may propel it above its likely nearest competitors -- an 'action' movie, and an indie comedy. I'm choosing Babel.

Oscars 2006: Actor In a Supporting Role

OK so I'm nearly done. I've left the two tightest major races until last. That's, of course, the still five-way dash for the Best Picture prize, and the kind of open -- in the sense that nobody's really sure Eddie Murphy has the respect here -- Supporting Actor category. I simply must leave BP till the very end (I'm still undecided) so here are the guys ajudged of propping up their films (and leads) the best.


Actor In a Supporting Role

Alan Arkin - Little Miss Sunshine
Jackie Earle Haley - Little Children
Dijmoun Hounsou - Blood Diamond
Eddie Murphy - Dreamgirls
Mark Wahlberg - The Departed

Who should win? Four out of these five performances are great, but only one will likely make my final line-up in this category -- the incredible Jackie Earle Haley. Of the five films noted here, Little Children is the one I like the least, and yet his haunting performance reels you in, even amongst shallow relationships and trigger-happy injections of pretension. His role may be very showy but if you look at the rest of the performances (2 drug addicts, a desperate father, and a wisecracking cop), he's in the more subtle bracket here.

Who will win? Now this is the question. I'm inclined to believe that Mark Wahlberg can be ruled out here. This isn't the kind of role that wins oscars and truthfully, he's a bit young for this. As is Dijmoun Hounsou, who despite being nominated three years ago, would shock if he were to take home the golden guy. It's baity but this kind of award usually goes to either a veteran or a showman, which leads me to the likely Arkin Vs. Murphy showdown.

Eddie Murphy has a couple of critic awards, the Golden Globe, the SAG, an entertaining (and human) role, and a high Hollywood profile. But is he respected enough? He really only ever does comedy, or some form of it, and often it's not of the tasteful variety (Has anybody seen the Norbit trailer? Ugh). Alan Arkin, on the other hand, is a veteran oscarless actor with a funny role in a Best Picture nominee. Yet Arkin has only the BAFTA to show for himself. But what of the comeback kid? Jackie Earle Haley. His role isn't really identifiable (neither are the others), and his character isn't very likeable either. But still, Little Children has a decent presence at these Oscars, and he has the most critic awards of any nominee. Could he steal in?

Long story short... Arkin has gained momentum. Whether it's enough to win is debatable. I'm going for an Alan Arkin win, but it's close.

Oscars 2006: Actor In a Leading Role

Actor In a Leading Role

Leonardo Di Caprio - Blood Diamond

Ryan Gosling - Half Nelson

Peter O'Toole - Venus

Will Smith - The Pursuit of Happyness

Forest Whitaker - The Last King of Scotland

Who should win? By furlongs, lengths, kilometres, miles.. over bridges, through forests, scaled mountains and oceans, Ryan Gosling deserves to walk away with this award. It isn't that this performance is merely convincing. The depth of Gosling's performance creates a window into the mentality of addiction itself. He resists putting on the savage turn that people expect and perhaps prefer, in turn blurring the distinction between himself and his drug-dependent persona. Have the drugs taken over him? Do they provide escapism? Maintain youth? The main thing is that their effect is neither flaunted nor sensationalised, and Gosling's performance is indicative of that.

Who will win? Every year there's one critically lauded performance I just don't get. Sometimes more than one (all of the acting winners, Robbins excepted, in 2003). This year it's the likely Oscar winner Forest Whitaker, in The Last King of Scotland. It's admittedly a powerful, intimidating, and occasionally touching portrayal of tyrant Idi Amin, but while Whitaker's incessant bellowing and sweating are, very watchable, I think the narrative contributes as much to the character as he does. There just isn't enough range in this for me.

An eighth loss for Peter O'Toole would mean he'd remain Oscarless and frankly very unlucky, considering the terribly uninspiring collection of Actors this year. I don't think this lineup is particularly bad, but it's hard to really love any of them that much -- apart from the fantastic RG. History suggests there may be a glimmer of hope for O'Toole (Page, Newman, Tandy), but Whitaker has swept the board this year, and plays a real-life character. It's depressing when the last non-biopic performance to win in this category came courtesy of the almost unwatchable Sean Penn in Mystic River. *Sigh* If Whitaker loses I'd be shocked.

Oscars 2006: Director

Director

Clint Eastwood - Letters From Iwo Jima

Stephen Frears - The Queen

Paul Greengrass - United 93

Alejandro Gonzalez Inarritu - Babel

Martin Scorsese - The Departed

Who should win? A very good lineup actually. So good in fact that it's difficult to decide which I found better. It's between two. The ever-masterful Martin Scorsese, whose buzzing, exciting direction of The Departed made it an exhilarating experience, and a very easy watch. And Paul Greengrass, who probably has the more difficult job of filming in such an enclosed environment for long periods of the film. The effect of his direction on the film cannot be underestimated. Either of these I would be happy with winning.

Who will win? As much as The Departed seems to be increasingly losing popularity I cannot see the oscar going anybody but Marty's way this time around. I don't actually think he has deserved to win most of his nominated directorial feats, but surely it's time now. He's such a nice guy. They're almost obliged to give him it this year. The only possible shock would be a win for Paul Greengrass, who grabbed the BAFTA and could get the DGA (you never know). But as much as Greengrass may have conceivably gained more #1 ballot placings for his docudrama, when everybody goes to vote, it will be difficult to look past Scorsese's name, knowing that he's lost here five times already.

Oscars 2006: Actress In a Supporting Role

And so we come to the category of Supporting Actress, (Can you tell I'm leaving the competitive categories until the end?) which has generally produced a high level of quality this year -- even if that level is not representative in the Oscar line-up. I'll refrain from saying too much about each particular performance, should my comments be needed for Stinkylulu's Supporting Actress Smackdown for 2006's nominated ladies, but nevertheless, here's my analysis of the race.

Best Actress In a Supporting Role

Adriana Barazza - Babel

Cate Blanchett - Notes On a Scandal

Abigail Breslin - Little Miss Sunshine

Jennifer Hudson - Dreamgirls

Rinko Kikuchi - Babel

Who should win? In all honesty, only one of these performances really humanly touched me, and that was ten year-old Abigail Breslin's adorable portrayal of a wannabe child beauty queen. It's a mature and honest performance that never feels manipulative or artificial, as child performances sometimes tend to. When she identifiably bursts into tears under the pressure of failure, uttering the words "I don't wanna be a loser", the sincerity is enough to make you melt. The rest of the performances in the category I found either Leading turns misplaced as Supporting (Blanchett, Hudson), or great roles with merely good performances attached to them (Barazza, Kikuchi).

Who will win? When you get a chance in life, you have to grasp it with both hands. I understand that. Jennifer Hudson will undoubtedly win this Oscar. She puts everything she has into her role as Effie, the forgotten woman and real talent of an aspiring group. Her version of "And I am Telling You" is great, making it her own (if considerably inferior) version of Holliday's showstopping tune.

When is all and said and done though, Jennifer Hudson is not an actress. She's a singer. And it does show. Hudson does very little to push the boundaries of her character, choosing to conserve the vast majority of her energy on the vocal aspect of the role. I think it's valid to question just what level of performance we're happy to accept from a media-endorsed 'product' like Jennifer Hudson. Admittedly, reality television shows like American Idol are not massively respected, but Oscar has a history of embracing media starlets, and they'll certainly embrace this one.

Brit Awards: Winners & Reaction

2007 Brit Award Winners:

British Male Solo Artist - James Morrison
British Female Solo Artist - Amy Winehouse
British Group - Arctic Monkeys
MasterCard British Album - Arctic Monkeys, “Whatever people say I am, that’s what I’m not”
British Single - Take That, “Patience”
British Breakthrough Act - Fratellis
British Live Act - Muse
International Male Solo Artist - Justin Timberlake
International Female Solo Artist - Nelly Furtado
International Group - The Killers
International Album - The Killers, “Sam’s Town”
International Breakthrough Act - Orson

Prediction Accuracy: 5/12 (42%) -- eeek!

Reaction

Well I generally can't complain about most of the wins. My score was typically rather embarassing. I can never really guage the way things are going to go. The Oscars are much easier, which is clearly a bad thing, if the last few years are anything to go by. But never mind that! Music!

I'm absoloutely thrilled that The Killers walked away with two deserved awards, same goes for Arctic Monkeys. Although James Morrison and Amy Winehouse were both my second choices for their respective awards, this could have been much worse. I find it difficult to accept that Lily Allen didn't deserve anything from this (her categories were hardly loaded with superstars), but she isn't a very likeable person, and neither is her father, truth be told.

Russell Brand is officially God. Definitely the best presenting job I've seen at the Brits (that's not saying much I know). His digs at Robbie Williams may have gained a wry smile from the rehabilitating pop star -- 'may' being the operative word in that sentence. Take That resisted mentioning him though, as they collected their Best Single prize for "Patience". Deserved, if not quite up to Razorlight's "America". Question: What on earth were The Feeling doing in the single shortlist? I liked their first song, but the other three piss me off. Especially that one.

I can't pretend to be thrilled about either wins for Muse (dull), or The Fratellis (great band, but probably 3rd most deserving -- this IS a breakthrough category after all), or Nelly Furtado (although 'Maneater' and 'Promiscuous Girl' were great she seems to have abandoned the folk roots that made her so different and appealing). But these do not compare to the awards for Justin Timberlake and Orson. The former did not surprise me, the latter dumbfounded me. I know JT had 'SexyBack' this year, but is one song representative of this award? 90% of the people I know own a Jack Johnson album. And Orson. My god. Talk about scraping the bottom of the barrel. I know this is a Breakthrough prize, but if groups like Girls Aloud and McFly, that produce great music in frowned-upon genres can gain no nominations, and clownish wannabes that churn out average music in an ascending genre can win, then it makes me wonder if Punk Rock is the new crack. The Brits have been addicted to this for the past few years.

That's all.

Oscars 2006: Actress In a Leading Role

Best Actress In a Leading Role

Penélope Cruz - Volver

Judi Dench - Notes on a Scandal

Helen Mirren - The Queen

Meryl Streep - The Devil Wears Prada

Kate Winslet - Little Children

Who should win? When looking at this category, you really can't help but admire the quality. Even if it does seem to be the same women who make the Academy's shortlist again and again, their consistent brilliance is undeniable. Perhaps with the exception of Winslet, all five of these performances would be worthy of this Oscar, especially when you look at the state of last year. Having said that, I must admit to finding Helen Mirren's performance slightly overrated (still excellent but this isn't the greatest thing anyone's ever done).

The other three performances in this category are exceptional, and I'd be delighted if any of them were to claim glory (I have to dream, don't I?). If I'm honest though, I think the one who has the most difficult job of selling their character is Penélope Cruz, who also has to align herself completely with the sensationalist blackness of the film, which she does so effortlessly with fiery dynamic gumption.

Who will win? Without the need of a crystal ball, rune stones, tarot cards, or any other predictive instrument, I can confidently say (along with the rest of the world) that Helen Mirren will be crowned Queen of the Oscars.

Ever since this performance (or at least the role) first emerged into being, her buzz has soared and soared, and still won't be reined in despite the film having been released over four months ago. Playing the Queen has its advantages, both in terms of Oscar preference, and media interest. Never have I seen the media take a performance and put it on so high a pedastal, and never has Helen Mirren had as high a profile as she does right now.

Mirren is Queen of the critics too, garnering nearly thirty prizes, and losing just ONE, to the unflinching vicious Ellen Page in Hard Candy. Fairly astonishing considering what an excellent year it was for actresses. Still, her motor through the precursors has killed off any competition. This is no contest.

The Brit Awards 2006 - Predictions

So, the Brit Awards are upon us, and the exciting thing.. they're LIVE this year. The even more exciting thing? Russell Brand is hosting. Talk aplenty about dinkles and Hare Krishna? Let's hope so.

British Male Solo Artist

James Morrison
Jarvis Cocker
Lemar
Paolo Nutini
Thom Yorke

Who deserves to win? In rather a weak category (I'm not a fan of Cocker, Lemar, or Nutini) Thom Yorke is way the best. And if there was a God in this world, perhaps he might take it. But there isn't, and he won't.

Who will win? Because that honour will be bestowed upon either James Morrison, whose other nominations suggest he's a big favourite with the voting panel, or Lemar, who despite churning out very little, has won this prize before. I'm going to give them some credit and predict a James Morrison victory.

British Female Solo Artist

Amy Winehouse
Corinne Bailey Rae
Jamelia
Lily Allen

Nerina Pallot

Who deserves to win? Lily Allen. She's proved time and time again this year that she's a class act. Three great singles, an excellent live lounge session, and a brilliant album. Amy also has two great songs, but I fancy they'll be remembered far less than Allen's somewhat outlandish material.

Who will win? Probably Corinne Bailey Rae. As popular as Lily is, her arrogance is well-documented. Her refusal to seriously acknowledge the Brits (she may not even turn up) means they'll likely go with the likeable Rae, whose music is soulful, if not perhaps very daring.

British Group

Arctic Monkeys
Kasabian
Muse
Razorlight

Snow Patrol

Who deserves to win? The Arctic Monkeys, by about ten lengths.

Who will win? The Arctic Monkeys, by about four lengths, from Razorlight.

British Album

Amy Winehouse - "Back to Black"
Arctic Monkeys - "Whatever people say I am, that’s what I’m Not"

Lily Allen - "Alright, Still"
Muse - "Black Holes & Revelations"
Snow Patrol - "Eyes Open"

Who deserves to win? Arctics. Allen's album is top drawer but for its showstopping headlong dives into social and cultural identity, the Monkeys reign supreme.

Who will win? The Monkeys. It's the fast selling British debut Rock album. It's a given.

British Single

Corinne Bailey Rae - "Put your records on"
The Feeling - "Fill my little world"
James Morrison - "You give me something"
Kooks - "She moves in her own way"
Leona Lewis - "A moment like this"
Lily Allen - "Smile"
Razorlight - "America"
Sandi Thom - "I wish I was a punk rocker"
Snow Patrol - "Chasing cars"
Take That - "Patience"
Will Young - "All time love"

Who deserves to win? Take That, Lily Allen, and especially the fluctuating output of Razorlight, the highlight of which is their fantastic track, 'America'.

Who will win? Take That. Having had just one single, this is the only category they could have realistically placed in, and they did. Their comeback will be sealed with this win.

British Breakthrough Act

Corinne Bailey Rae
Fratellis
James Morrison
Kooks
Lily Allen

Who deserves to win? Lily Allen. From daddy's girl to fierce girl.

Who will win? Hmm.. James, Lily, James, Lily, James, Lily, James (has anyone else noticed these are the forenames of Harry Potter's parents? What a strange thought).. fuck it. Lily Allen.

British Live Act

George Michael
Guillemots
Kasabian
Muse
Robbie Williams

Who deserves to win? I couldn't care less.

Who will win? Well if Robbie Williams is as unpopular as his single nomination suggests, Muse have this sewn up.

International Male Solo Artist

Beck

Bob Dylan

Damien Rice

Jack Johnson
Justin Timberlake

Who deserves to win? Jack Johnson! Can somebody please give this guy some major recognition? He made a classy, classy album.

Who will win? Timberlake's SexyBack was great, but is that song alone enough to beat JJ's two-year long momentum and impressive album sales? I hope not. Jack Johnson.

International Female Solo Artist

Beyonce
Cat Power

Christina Aguilera
Nelly Furtado
P!nk

Who deserves to win? Who is Cat Power? It's Valentines, so I have to pick P!nk (shut up, I would have picked her anyway).

Who will win? Nelly Furtado's two major successful singles this year could be enough to top RnB diva Beyonce, but being a bigger media star always helps. Beyonce by a hair.

International Group

Flaming Lips
Gnarls Barkley

Killers
Red Hot Chili
Scissor Sisters

Who deserves to win? In a great category, I have to concede that the Killers probably deserve to win. In fact, they definitely do.

Who will win? The Scissor Sisters have one song this year but they're practically ADORED here. The sisters.

International Album

Bob Dylan - "Modern Times"
Gnarls Barkley - "St Elsewhere"

Justin Timberlake - "FutureSex/LoveSounds"

Killers - "Sam’s Town"
Scissor Sisters - "Ta Dah"

Who deserves to win? Um. I haven't heard Dylan's new stuff but I suspect it's nothing revelatory. There's a case for both Gnarls Barkley, and The Killers, but one would think that you're less likely to grow tired of Barkley's smooth tone.

Who will win? I'm actually tempted to go with Gnarls Barkley. We don't have an International Single category, and therefore there's nowhere to honour the brilliant and massive ten-week number one, Crazy. Except as part of an album. Voila.

International Breakthrough Act

Gnarls Barkley

Orson
Raconteurs
Ray Lamontagne
Wolfmother Island

Who deserves this? Lol.

Who will win? Folk singer Ray Lamontagne has built up a hefty fanbase, but he's no superstar. Gnarls again.

Enjoy the show everybody!

Valentines Special: Romantic Comedies

Hello lovers,

I've decided to do a special Valentines Day ode to the often cute and often shamelessly manufactured Rom Com genre. As horrifically tacky, and mercilessly sweet as Valentines Day truly is, occasions such as this do tend to make life a little less dull -- even if you're in love and still single (as I am -- What can I say? I'm fucked up. I'm sure there's plenty others). So whether it's Diane Keaton and Jack Nicholson swapping glasses, Meg Ryan imitating an orgasm, or Reese Witherspoon haunting Mark Ruffalo in the shower, let's salute the Best and the Worst of, probably, the most produced genre out there.

Worst 5 Romantic Comedies

5. Bewitched

4. Notting Hill

3. A Good Year

2. The Sweetest Thing

1. Return To Me

Best Romantic Comedies

5. Ten Things I Hate About You

4. When Harry Met Sally

3. Some Like It Hot

2. Bringing Up Baby

1. Annie Hall

If You Don't Have Someone...

If You Have Someone...