Better late than never, my Oscar Predctions

The awards ceremony is tonight so this will not help anyone with their Academy Award pool sheets but I wanted to get both my predictions, who I would vote for of the nominated films and which film I thought was the best but wasn't nominated. So without further ado here we go

Best Adapted Screenplay
Prediction: "The Descendants" Alexander Payne, Nat Faxon & Jim Rash

My Vote: "Tinker Tailor Soldier Spy" Bridget O'Connor & Peter Straughan

Best Original Screenplay
Prediction: "Midnight in Paris" Woody Allen
My Vote: "A Separation" Asghar Farhadi
The Best but not Nominated: "50/50"Will Reiser
 
Best Performance by an Actress in a Supporting Role
Prediction & My Vote: Octavia Spencer "The Help"
The Best but not Nominated: Shailene Woodley "The Descendents"

Best Performance by an Actor in a Supporting Role
Prediction & My Vote: Christopher Plummer "Beginners"

Best Performance by an Actress in a Leading Role
Prediction & My Vote: Viola Davis "The Help"

Best Performance by an Actor in a Leading Role
Prediction: Jean Dujardin "The Artist"
My Vote: Brad Pitt "Moneyball"

Best Achievement in Directing
Prediction: Michel Hazanavicius "The Artist"  
My Vote: Terrence Malick "Tree of Life"
The Best but not Nominated: Nicolas Winding Refn "Drive"
 
Best Picture
Prediction: "The Artist"
My Vote: "Moneyball"
The Best but not Nominated: "Drive"

  

Just Another Opinion, My Top 10 Films of 2011

Better late than never I've finally seen most of the major releases of 2011. So I figured I would add my two cents to the end of year debate over what are the top 10 movies of the year.  Before the list some honorable mentions; "Harry Potter and the Deathly Hallows, Part 2" ended the series on an emotional high point, creating a series of films that were constantly good is a major achievement. Terrance Malick is at his polarizing best in "Tree of Life." "Captain America: The First Avenger" and "X-Men: First Class" showed that period comic book films can be both artistically and commercially successful. "Rise of the Planet of the Apes" was a reboot that was much better than anyone could possibly hope.

10 The Muppets  Director James Bobin, and writer/star Jason Segel team for a gentle, loving rebirth for Kermit and pals, filled with those schmaltzy, toe-tapping Muppet tunes and giddily corny gags. The movie is an elaborate production, but it feels timeless. Blame the wave of nostalgia if you must but I had a huge smile plastered on my face for the entire film. The Muppets are back and that's a good thing.

9  My Week with Marilyn Personally I don't care if the story is true or not. The important thing is that it made for an excellent movie. Michelle Williams gave a remarkable performance, capturing the subtle nuances of a screen icon. Her movements and voice are impeccably honoring the memory and comedic timing of the Monroe. Kenneth Branagh performance as Sir Laurence Olivier is equal to Williams' work.

8  Being Elmo The second Muppetcentric film on my list is the documentary about the man behind the little red monster. Kevin Clash's journey is positively inspiring, and filmmakers Constance Marks and Philip Shane do a wonderful job of telling it. What could have been a childish rewind on the history of puppets becomes a tale of determination and dedication.

 7  The Guard Darkly funny, low-key buddy cop, crime film from Ireland with great lead performances from  Brendan Gleeson and Don Cheadle. Much of the film’s humor comes from Cheadle's reactions to Gleeson's off hand xenophobia, bigotry and vices. The script is fun, intelligent, and genuinely hilarious in places but also provides a satisfying conclusion. 

6  50/50  The fact that it was promoted as a cancer comedy may have scared away audiences, but director Jonathan Levine has crafted a film that manages to find the right tone in every scene. Comedy writer Will Reiser based the script on his own cancer diagnosis in his 20s, and his words are filled with dark humor and a wry recognition of the gravity of this situation, but also with real tenderness. One of the biggest reasons for the film's success is the performance of Joseph Gordon-Levitt who conveys both the strength and frailty of his charterer. 

5  The Descendants George Clooney has  built his reputation playing strong, independent men but here Alexander Payne asks him to play a deeply flawed one. The result maybe the best performance of his career.  In fact the entire cast is outrageously good especially Judy Greer. The script, written by Payne, Jim Rash and Nat Faxon, provide the poignant moments that make the relationships real but also the comedy bits that provide relief  yet the film never feels uneven and earns every laugh and every tear. 

 4  The Artist Who says you need 3-D? Who says you need widescreen CGI effects laden action? Hell you don't even need words as proved by director Michel Hazanavicius' wonderous dream of a film where every moment delights with grand visuals, lush music, timeless performances by Jean Dujardin and Berenice Bejo and a cute dog. Silence really is golden.

3  Moneyball  Less an adaptation of Michael Lewis' best-seller than a cinematic rendering of the unlikely marriage between passion and fiscal necessity that motivated baseball to put its faith in sabemetrics. Brad Pitt leads the film perfectly, creating an interesting protagonist and driving the film in a way few leads can. You won't catch him "acting" like some of his previous roles. Brad Pitt leads the film perfectly, creating a very interesting protagonist and driving the film in a way few leads can. He is charismatic throughout and shows the down side of Beane’s temper and single-mindedness well without ever turning the audience against him.

2  Tinker Tailor Soldier Spy Alec Guinness was the definitive version  of John le Carre's spymaster George Smiley in two miniseries 30 years ago. But Garry Oldman makes the role completely his own, inhabiting Smiley's stillness and impenetrability, somehow conveying the man's subsurface passion while barely twitching a muscle. Director Tomas Alfredson and his phenomenal cast tell a fiercely cerebral, meticulously paced spellbinder, masterfully compacted from le Carre's sprawling novel. Read my entire review here http://bit.ly/z6dJEh

1 Drive Every little rev of an engine and bullet fired is perfectly measured in both design and volume, building relentless tension with silence and then going nuclear with blasts of sound, wedging audience members into that tight space between the cushion and the back of seat. Between the gripping performances, the stunning lighting, the perfect soundtrack and the taut script, the sound is only a small part of the brilliance that is director Nicolas Winding Refn’s film. Refn' direction is immaculate. The mood of the film spills over you in the opening getaway and continues for the entire running time. The violent content never feels gratuitous or like it’s glorifying the actions of the characters. The entire film is grounded in reality which only makes every punch hit harder. The best film of the year.

Dance, She Said...

If you’re hoping to emerge from Wim Wenders’ new documentary, "Pina," having learned about the life of German modern dance choreographer Pina Bausch, the film’s subject, allow me to warn you away from that expectation. What Wenders has made is not so much a documentary about Bausch as a remembrance of her; an impressionistic eulogy. Bausch unexpectedly passed away two days before shooting was scheduled to begin. Wenders was prepared to cancel the project but the dancers in Bausch's company (some of whom had worked with her for decades) convinced him to continue. For fans of modern dance the film is a feast. Others, like me, who are novices in the field will find a technically proficient yet ultimately hollow film.



"Pina" plunges the viewer right into the dancing without setting the scene. Wenders wants to engage the audience and then slowly unfold the documentary elements. Bausch is seen and heard, very briefly, in old clips; her sound bits are artistically vague. She wanted the dancing to speak for her. All of this is presented in 3D.  "Pina" is almost entirely staged and choreographed. With this level of control in addition to the fact that we are witnessing something that was designed to be presented on a stage both occupied and observed by real, three-dimensional people, Wenders has achieved one of the best and most worthy use of 3D.  

Bausch’s dances are recreated on stage, with the camera largely recording them from perspectives that would be possible from the audience. Others, however, are relocated to real-world settings. Wenders places these throughout in a deliberate way. At first, they take place in nature – at the top of a hill or alongside a stream. Then they move very abruptly into the city with a dance performed on a moving monorail car and then another on a street corner. Finally, we get dances set in locales that blend the two. One is presented inside a room with glass walls overlooking a verdant landscape. Another stunning example takes place on an expanse of grass that we only realize once the camera moves is nearly in the shadow of some massive, modern bridge-like structure. In blending the images of the two sides of dance, Wenders is offering a definition of the art form – of all art forms, perhaps.


Modern dance is not be the most commercial art and cinema may well be. The resulting mix makes the dances accessible to people who may not have been exposed to them. To a person who thinks these dances will be silly, a mere description of them would do nothing to convince her or him.  To see them so exuberantly and whimsically staged brings a better understanding of the art form. At the end of the film the audience still don’t know all that much about the life of Pina Bausch. That’s not what this film is for. It is about the beauty she gave the world and this film continues her work.