tag:blogger.com,1999:blog-47489746710556427072024-03-13T21:52:08.316-07:00Michael's Movie ReviewsMichael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.comBlogger61125tag:blogger.com,1999:blog-4748974671055642707.post-65823454730547038482017-03-24T19:23:00.000-07:002017-03-24T19:32:48.991-07:00Marvel Movies: RankingIt's been quite a long time since I posted anything. And while I won't be doing reviews anymore (or at least for the foreseeable future), I thought I might put a little list together about the Marvel Cinematic Universe, an somewhat controversial financial juggernaut. About half the people who care love them all. The other half are bored to death with the inundation. There's very few in-betweeners. I am one of them. I thoroughly enjoy the concept behind it, a fact made possible by the excellence of a handful of the releases and the entertainment value of some others. None of them are Batman and Robin levels of bad, but are still incredibly lackluster.<br />
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Anyway, having either watched or rewatched all 14 of the films over the past month or so, I thought I'd do a short ranking of the films with some thoughts on each. Keep in mind I'm only listing the MCU films, so there will be no mention of stuff like either of the 2 Spider-Man iterations (though Homecoming, coming out this year, is fair game when the time comes), Fantastic Four, or any of the X-Men movies. So without further ado:<br />
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14. Thor: The Dark World (2013)<br />
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<a href="https://4.bp.blogspot.com/-1Q9zYR7Jsqk/WNWact741uI/AAAAAAAABGU/ic9gNFPK-h0FzHwjgU9ar57y0m3_57zxwCLcB/s1600/Thor%2BDark%2BWorld2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="165" src="https://4.bp.blogspot.com/-1Q9zYR7Jsqk/WNWact741uI/AAAAAAAABGU/ic9gNFPK-h0FzHwjgU9ar57y0m3_57zxwCLcB/s400/Thor%2BDark%2BWorld2.jpg" width="400" /></a>A film worth watching only if you revel in made-by-committee schlock or just like ogling Chris Hemsworth's chiseled features, Thor: The Dark World is the definition of lackluster filmmaking. Hemsworth, Tom Hiddlestone, and (sort of) the visual effects make the film watchable, but they are no match for director Alan Taylor's incompetent, limpid direction. The fight scenes are indescribably boring; the romance is completely devoid of anything resembling chemistry, feeling more inevitable than authentic; and the villain is incredibly unthreatening. The more I talk and think about it, the less I like it. Watch it only as a cure for insomnia. 1.5/5<br />
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13. Thor (2011)<br />
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Thor is not a good film; it's not a bad film. It's about as average as they come. Aided by a strong, reasonably complex performance from Tom Hiddlestone as Loki and Anthony Hopkins' reliable grandeur, both of which help ground the fantastical elements in the actual world, it doesn't fall flat on its face like its successor, but it's not exactly riveting viewing either. Director Kenneth Branagh is definitely trying to do a good job, but he frankly seems lost in many of the fight scenes, and the romance is overcooked, underperformed, and devoid of chemistry. Elsewhere, many of the scenes feel utterly sterile. Overall a disappointing, though not entirely worthless, display. 2.5/5<br />
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12. The Incredible Hulk (2008)<br />
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This is the point at which the Thor movies cease and at least somewhat worthwhile films begin. To be honest, I'm not entirely sure what to make of The Incredible Hulk. Some aspects are decent: Edward Norton's performance and the action/fight scenes to name a couple. But many other other aspects fail to impress. Liv Tyler and Ty Burrell are thoroughly unconvincing as PhDs, and Louis Leterrier, rather good at directing the fight scenes, fails to make many of the other scenes anything other than inert. Additionally, Norton and Tyler's chemistry is somewhat lacking, though certainly better than that found in either of the Thor films. 3/5<br />
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11. Iron Man 2 (2010)<br />
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Now Iron Man 2 is a bit of an odd apple. Robert Downey, Jr. is still entertaining enough as Tony Stark, even if the character is a bit stale and Downey, Jr. is clearly unchallenged. And that second bit is just where the rub is. Iron Man 2 checks almost all the boxes you need for a good superhero flick, but it lacks two crucial elements: a decent villain and an air of originality. Mickey Rourke is pretty bad overall, not to mention terribly unconvincing as a scientist. The story may be ostensibly original, but it doesn't feel fresh, so while it may be entertaining as you watch it, it doesn't really stick with you. And Sam Rockwell, a high point for some other reviewers, was, at best, underwhelming and, at worst, annoying, not entertaining. It does feature the genesis of War Machine (an underrated aspect of the Marvel film canon) and a great final fight sequence, but it's not enough to elevate the film. 3/5<br />
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10. Doctor Strange (2016)<br />
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It may seem harsh putting this so low, but I simply couldn't justify putting it any higher. Doctor Strange is certainly not a bad film, but aside from the outstanding visual effects, it never becomes anything all that special. Benedict Cumberbatch is good, not great, and is occasionally overshadowed by his somewhat annoying American accent (which I initially thought was intentional, until watching some of his SNL sketches and realized he doesn't have a better one). Rather surprisingly, he and Rachel McAdams actually have something, and the supporting cast is quite good, particularly Tilda Swinton. But Scott Derrickson fails to bridge the gap effectively between the supernatural elements and the rest of the Earth-bound narrative. The FX obviously help mask that unfortunate shortcoming, and it works for the most part. 3.5/5<br />
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9. Iron Man 3 (2013)<br />
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While it suffers from Guy Pearce's proclivity for overplaying every single villain he's ever been cast as, Iron Man 3 nevertheless succeeds where Iron Man 2 failed, with new writer-director Shane Black's fresh, new take bringing the freshness the second installment sorely lacked, and Ben Kingsley making for one of the better "villains" of the canon, just because he's so ridiculous. Perhaps the best aspect, however, is the new and improved Tony Stark. I say new and improved in the sense that he's a much more complex and challenging character than before. As a result, Downey, Jr. gives his best performance in any one of his character-centric films. The final battle is very well-down and elevates the film beyond Pearce's unfortunate work. That said, it's only good and not great. 3.5/5<br />
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8. Avengers: Age of Ultron (2015)<br />
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<span style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: left;"><span style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;">In many ways Age of Ultron is a lackluster follow-up to The Avengers. Its final battle sequence, for one, isn't as gripping as its predecessor's, though it's still rather compelling. It is perhaps saved by its plethora of superheroes, a fact I'm always willing to count in a film's favor, particularly if they've been well-developed in previous films, which many of them had been by this point. Additionally James Spader does a decent job grounding Ultron with his voicework and the transitions by the Maximoff Twins are well-handled by Elizabeth Olsen and (rather surprisingly) Aaron Taylor-Johnson. Definitely not an improvement over its predecessor, but still nothing to balk at overall. 4/5</span></span><br />
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7. Ant-Man (2015)<br />
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A completely different sort of superhero movie, in a good way, Ant-Man is thoroughly entertaining and intermittently funny, Ant-Man is just plain old fun. Paul Rudd is a joy, and what it may lack in character or narrative complexity, it more than makes<br />
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up for in pure heart. 4/5</div>
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6. Captain America: The First Avenger (2011)<br />
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A great example of how to do an origin story right, Captain America is thrilling, entertaining, thoughtful, and patriotic. Paired with the effortlessly charming Agent Peggy Carter (played with dynamism, spunkiness, and sex appeal by Hayley Atwell, and whose own eponymous show is one I wholeheartedly recommend), Steve Rogers and Captain America are brought to life effortlessly by Chris Evans' terrific portrayal. He's not as complex as some of the other superheroes to emerge from the pens of Stan Lee and Jack Kirby, but with his determination, patriotism, and dose of underdog spirit, he's my favorite. This fact, coupled with the film's period setting and accurate detail (a definite weakness of mine), may bring me to up the score later on, but for now I'll leave it as is in case my sentimentality is clouding my judgment. 4/5<br />
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5. The Avengers (2012)<br />
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Terrific at pretty much every turn, The Avengers is a terrific ensemble piece and a fabulous example of how to make an action movie. Aided by its central sextet's great chemistry, writer-director Joss Whedon (one of my favorites) sets about creating a witty (shawarma anybody?), action-packed film that manages not just to entertain, but to raise interesting dilemmas and develop characters and relationships in the midst of the action set-pieces. <span style="text-align: right;">4.5/5</span><br />
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4. Captain America: The Winter Soldier (2014)<br />
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The Russo brothers brought something new to Marvel movies when they directed The Winter Soldier. Anchored by Chris Evan's steadfast performance and animated by Anthony and Joe Russo's great direction and an underrated screenplay by Christopher Markus and Stephen McFeely, the film in some ways paved the way for the arguable redefinition of what the genre could be in its successor. Tremendous action sequences and emotionally resonant character development between the title <span style="text-align: right;">characters make it all work. </span><span style="text-align: right;">And work it does. 4.5/5</span><br />
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3. Iron Man (2008)<br />
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The film that started it all, Iron Man single-handedly redefined the superhero genre. With a career-best directorial effort from Jon Favreau and the return of the somewhat dormant talent of Robert Downey, Jr., the film is both the MCU's best example of a superhero origin story (even nearly a decade later) and a terrific stand-alone movie in its own right. There's really not much more that I can say. If you haven't seen it <span style="text-align: right;">you're missing out. 5/5</span><br />
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2. Guardians of the Galaxy (2014)<br />
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I can count on one hand the number of times I've had a better time watching a movie than I do every time I watch Guardians of the Galaxy. With a fantastic soundtrack, talented cast, and assured writing and direction from James Gunn (his screenplay is perhaps my favorite of 2014), Guardians is funny, heart-filled, and fun as hell. Chris Pratt is tremendously entertaining as Peter Quill, Dave Bautista is damn-near hysterical as Drax the Destroyer, with Bradley Cooper, Zoe Saldana, and Vin Diesel (to a lesser extent) playing/voicing their parts to great effect. It's hard to find faults, but they do exist. Lee Pace is dreadful, as is Karen Gillan (which is unfortunate as she's rather great in Doctor Who), and Djimon Hounsou leaves something to be desired. But on the whole I love it and can't recommend it highly enough. 5/5<br />
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1. Captain America: Civil War (2016)<br />
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In a phenomenon unsurprising for those familiar with how my opinions on movies and TV shows often go, my favorite Marvel film is not the one I consider the best. While Guardians of the Galaxy is undoubtedly my favorite, it lacks the complex characterization and conflict of Civil War, and that is by design, but is true nonetheless. Captain America: Civil War is a tremendous film and features an MCU-best performance from Robert Downey, Jr. It's eponymous character is also well-developed, and Sebastian Stan gives a performance as Bucky Barnes/The Winter Soldier that has gone unfortunately unappreciated. The conflict is developed incredibly well, and the action/fight sequences are incredibly well-done and completely gripping, as well as entertaining. The introduction of new characters at seemingly every turn never seems forced or unnatural, and Tom Holland's and Chadwick Boseman's turns as Peter Parker/Spider-Man and T'Challa/Black Panther, respectively, promise great things to comes in Spider-Man: Homecoming and Black Panther both to be released this year. The film is not without faults, particularly Scarlett Johansson, who is unable to effectively convey the inner-conflict her character should clearly be feeling. There are other faults as well, but the highs of the film are so powerful they easily overshadow any negative aspects. Plus, Stan Lee has easily his best cameo (Tony Stank?). 5/5Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-16865210450328033202015-01-14T16:04:00.000-08:002015-01-14T16:07:30.214-08:00Oscar Nomination PredictionsI haven't seen anything new since the last time I posted, which means I really far behind on watching stuff. I hope to make up for that and more once I return to school and faster internet speeds.<br />
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That aside, Oscar nominations come out bright and early tomorrow morning, so here are my Oscar predictions (I've listed them in order of the likelihood I perceive them getting in):<br />
Best Picture:<br />
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<li>Boyhood</li>
<li>Birdman</li>
<li>Selma</li>
<li>The Imitation Game</li>
<li>The Theory of Everything</li>
<li>The Grand Budapest Hotel</li>
<li>Gone Girl</li>
<li>Nightcrawler</li>
<li>American Sniper</li>
<li>Whiplash</li>
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Spoilers: Unbroken; American Sniper</div>
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Long Shots: Interstellar; A Most Violent Year; The Lego Movie; Inherent Vice; Big Eyes</div>
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Thoughts: I'm pretty secure on my top 8. I went with American Sniper and Whiplash over Foxcatcher and Unbroken because I figure Whiplash will have it ranked in their top 5 or not at all, while the other 2 will be consistently around 9 or 10. Therefore, with there being, in all likelihood, 9 slots (as has proved to be the case in the past), I like Whiplash's chances.<br />
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Best Director:<br />
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<li>Richard Linklater for Boyhood</li>
<li>Alejandro Gonzalez Inarritu for Birdman</li>
<li>Ava DuVernay for Selma</li>
<li>David Fincher for Gone Girl</li>
<li>Wes Anderson for The Grand Budapest Hotel</li>
</ol>
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Spoilers: Morten Tyldum for The Imitation Game; Clint Eastwood for American Sniper; Damien Chazelle for Whiplash</div>
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Thoughts: I'd much prefer Tyldum or Eastwood (but especially Tyldum) to Fincher, but if anybody misses out, I expect it'll be Anderson. He was a favorite a few years ago for Moonrise Kingdom and was snubbed and has never received the Academy recognition he so thoroughly deserves. That may or may not change this year.</div>
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Best Actor:</div>
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<li>Michael Keaton in Birdman</li>
<li>Eddie Redmayne in The Theory of Everything</li>
<li>Benedict Cumberbatch in The Imitation Game</li>
<li>Jake Gyllenhaal in Nightcrawler</li>
<li>David Oyelowo in Selma</li>
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Spoilers: Steve Carell in Foxcatcher; Ralph Fiennes in The Grand Budapest Hotel</div>
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Thoughts: If he's nominated, I think there's very little chance Oyelowo loses come the night of. Being the first to portray MLK as a film's lead character will get him plenty of votes, even before performance quality is taken into account. So this is his major test. Fiennes is more sort of wishful thinking on my part. If Oyelowo's on, the Cumberbatch might miss out if he gets the Hanks treatment where everybody thinks everybody else is going to vote for you so nobody ends up doing it.</div>
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Best Actress:</div>
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<li>Julianne Moore in Still Alice</li>
<li>Reese Witherspoon in Wild</li>
<li>Rosamund Pike in Gone Girl</li>
<li>Felicity Jones in The Theory of Everything</li>
<li>Jennifer Aniston in Cake</li>
</ol>
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Spoilers: Amy Adams in Big Eyes</div>
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Thoughts: I struggled mightily here. The top 4 are a piece of cake (no pun intended), but that 5th spot is a doozy. Go with the hot performance or with the far better actress? It's really a boring category because there's a negligible chance of anybody outside of these 6 getting on. Also, this is Julianne Moore's to lose, and her almost assured win will be one of the most overdue in history in my humble opinion.</div>
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Best Supporting Actor:</div>
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<li>J.K. Simmons in Whiplash</li>
<li>Ethan Hawke in Boyhood</li>
<li>Edward Norton in Birdman</li>
<li>Robert Duvall in The Judge</li>
<li>Mark Ruffalo in Foxcatcher</li>
</ol>
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Spoilers: lol</div>
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Long Shots: Josh Brolin in Inherent Vice; Miyavi in Unbroken</div>
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Thoughts: Talk about a boring category! I will do something extraordinarily unusual in self-flagellation (or similar) if this exact lineup is not announced.</div>
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Best Supporting Actress:</div>
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<li>Patricia Arquette in Boyhood</li>
<li>Emma Stone in Birdman</li>
<li>Keira Knightley in The Imitation Game</li>
<li>Meryl Streep in Into the Woods</li>
<li>Jessica Chastain in A Most Violent Year</li>
</ol>
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Spoilers: Rene Russo in Nightcrawler; Naomi Watts in St. Vincent</div>
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Thoughts: This is always the weakest acting category, but some of the weakest years in history ain't got nothing on this one. Russo is the best of the bunch, but Watts probably has a better chance of knocking off Chastain.</div>
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Best Adapted Screenplay:</div>
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<ol>
<li>Gone Girl (Gillian Flynn, from her novel)</li>
<li>The Imitation Game (Graham Moore, from the book <i>Alan Turing: The Enigma</i> by Andrew Hodges)</li>
<li>The Theory of Everything (Anthony McCarten, from the book <i>Travelling to Infinity: My Life with Stephen</i> by Jane Wilde Hawking)</li>
<li>Whiplash (Damien Chazelle, from his short film)</li>
<li>Inherent Vice (Paul Thomas Anderson, from the novel by Thomas Pynchon)</li>
</ol>
<div>
Spoilers: Wild</div>
</div>
<div>
Long Shots: American Sniper; Unbroken</div>
<div>
Thoughts: Inherent Vice is a HUGE stab in the dark, but, in the past, even when his films have fared somewhat poorly otherwise (see Boogie Nights and Magnolia), PTA has managed screenplay nominations.</div>
<div>
<br /></div>
<div>
Best Original Screenplay:</div>
<div>
<ol>
<li>Boyhood (Richard Linklater)</li>
<li>Birdman (Alejandro Gonzalez Inarritu, Nicolas Giacobone, Alexander Dinelaris, Jr., and Armando Bo)</li>
<li>The Grand Budapest Hotel (Wes Anderson and Hugo Guinness)</li>
<li>Selma (Paul Webb)</li>
<li>Nightcrawler (Dan Gilroy)</li>
</ol>
<div>
Spoilers: The Lego Movie; Foxcatcher</div>
<div>
Long Shots: Interstellar</div>
<div>
Thoughts: Why Boyhood's mediocre script is even in the mix is beyond me, but there you have it.</div>
</div>
<div>
<br /></div>
<div>
Best Animated Feature:</div>
<div>
<ol>
<li>The Lego Movie</li>
<li>How to Train Your Dragon 2</li>
<li>Big Hero 6</li>
<li>The Boxtrolls</li>
<li>The Book of Life</li>
</ol>
<div>
Spoilers: The Tale of the Princess Kaguya</div>
</div>
<div>
Thoughts: My mind won out over my heart on this one. The Academy hasn't pulled a Studio Ghibli out of the hat in like 6 or 8 years of something, so seeing one now (that lacks Miyazaki at the helm, no less) would be a real shocker.</div>
<div>
<br /></div>
<div>
Best Foreign Language Film:</div>
<div>
<ol>
<li>Ida (Poland, in Polish)</li>
<li>Force Majeure (Sweden, in Swedish)</li>
<li>Leviathan (Russia, in Russian)</li>
<li>Tangerines (Estonia, in Georgian, Estonian, and Russian)</li>
<li>Timbuktu (Mauritania, in Arabic, French, and Tamashek)</li>
</ol>
<div>
Spoilers: Wild Tales (Argentina, in Spanish); Corn Island (Georgia, in Georgian); Accused (Netherlands, in Dutch); The Liberator (Venezuela, in Spanish, English, and French)</div>
<div>
Thoughts: This category is a crap-shoot (along with Documentary Feature and all of the shorts), so I have no blooming idea. My prediction is based on other groups' nominations, which almost never means anything here, and the spoilers are literally every other shortlisted films. The submission rules are also super-dumb; for instance, Ida (which is quite good, in fact, and should probably win) was released in Poland like 16 months ago or something!</div>
</div>
<div>
<br /></div>
<div>
Best Documentary Feature:</div>
<div>
<ol>
<li>Life Itself</li>
<li>Citizenfour</li>
<li>Last Days in Vietnam</li>
<li>Virunga</li>
<li>Finding Vivian Maier</li>
</ol>
<div>
Spoilers: Jodorowsky's Dune; The Case Against 8</div>
</div>
<div>
Thoughts: See Foreign Language Film Thoughts. Also, I'll be very surprised if Life Itself does not win, despite Citizenfour's thematic material.</div>
<div>
<br /></div>
<div>
Best Cinematography:</div>
<div>
<ol>
<li>Birdman (Emmanuel Lubezki)</li>
<li>The Grand Budapest Hotel (Robert Yeoman)</li>
<li>Interstellar (Hoyte van Hoytema)</li>
<li>Unbroken (Roger Deakins)</li>
<li>Mr. Turner (Dick Pope)</li>
</ol>
<div>
Spoilers: Gone Girl; The Imitation Game</div>
<div>
Thoughts: Normally I'd put Unbroken 5th, but Roger Deakins is so widely respected he gets bumped up. It's a shame he'll probably never win. He was the odds-on favorite at the start of the year, but that was before anybody knew Birdman and it's one-shot deal was even a thing.</div>
</div>
<div>
<br /></div>
<div>
Best Editing:</div>
<div>
<ol>
<li>Birdman (Douglas Crise and Stephen Mirrione)</li>
<li>Boyhood (Sandra Adair)</li>
<li>Whiplash (Tom Cross)</li>
<li>Gone Girl (Kirk Baxter)</li>
<li>The Imitation Game (William Goldenberg)</li>
</ol>
<div>
Spoilers: Interstellar</div>
<div>
Thoughts: I'd normally have put Interstellar on, but Imitation Game has a much better shot at winning (though it's really 0% either way), so I did it this way.</div>
<div>
<br /></div>
</div>
<div>
Best Costume Design:</div>
<div>
<ol>
<li>Into the Woods (Colleen Atwood)</li>
<li>The Grand Budapest Hotel (Milena Canonero)</li>
<li>Mr. Turner (Jacqueline Durran)</li>
<li>Maleficent (Anna B. Sheppard)</li>
<li>Belle (Anushia Nieradzik)</li>
</ol>
<div>
Spoilers: Guardians of the Galaxy; The Imitation Game; Inherent Vice; The Hobbit: The Battle of the Five Armies; The Theory of Everything</div>
</div>
<div>
Thoughts: Costumes are pretty and stuff. Grand Budapest deserves it, but Into the Woods will win because fantasy stuff always does.</div>
<div>
<br /></div>
<div>
Best Makeup and Hairstyling:</div>
<div>
<ol>
<li>Foxcatcher</li>
<li>Guardians of the Galaxy</li>
<li>Maleficent</li>
</ol>
<div>
Spoilers: The Theory of Everything; The Grand Budapest Hotel</div>
<div>
Thoughts: This is such a finicky category. Foxcatcher will probably win, even though all they did was put a fake nose and false teeth on Steve Carell, while Guardians painted 2+ people blue, made a purple rock-man (who destroys stars or something), did cool red and grey stuff on that revenge dude.</div>
</div>
<div>
<br /></div>
<div>
Best Production Design:</div>
<div>
<ol>
<li>Into the Woods (Dennis Gassner (art) and Anna Pinnock (set))</li>
<li>Interstellar (Nathan Crowley (art) and Gary Fettis and Paul Healy (set))</li>
<li>The Grand Budapest Hotel (Adam Stockhausen (art) and Anna Pinnock (set))</li>
<li>Mr. Turner (Suzie Davies (art) and Charlotte Watts (set))</li>
<li>The Imitation Game (Maria Djurkovic (art and set))</li>
</ol>
<div>
Spoilers: Birdman; Maleficent</div>
</div>
<div>
Thoughts: I'm going out on a huge limb here not picking Birdman, but Mr. Turner and Imitation just seem like much more Oscar-ey design (especially Mr. Turner).</div>
<div>
<br /></div>
<div>
Best Score: </div>
<div>
<ol>
<li>The Theory of Everything (Johan Johannsson)</li>
<li>Gone Girl (Trent Reznor and Atticus Ross)</li>
<li>Interstellar (Hans Zimmer)</li>
<li>The Imitation Game (Alexandre Desplat)</li>
<li>Unbroken (Alexandre Desplat)</li>
</ol>
<div>
Spoilers: The Grand Budapest Hotel (Alexandre Desplat)</div>
</div>
<div>
Thoughts: I'm afraid that Desplat's score(s) (especially Imitation Game) will go unrecognized because he's in the running with 2 scores (Unbroken and Grand Budapest Hotel being the others), but I hold out hope. If gets a nod for any one of them, I'll be pulling for him to win, if only because he's had far and away the best years anybody's had in a long time (his only real competition is with himself). I also hope he gets just 1 nomination, because more than that would completely destroy his chances for a win. I fear just the opposite might happen, given the year's lack of competition.</div>
<div>
<br /></div>
<div>
Best Original Song:</div>
<div>
<ol>
<li>Glory from Selma (written and performed by John Legend and Common)</li>
<li>Everything Is Awesome from The Lego Movie (written by Shawn Patterson, Joshua Bartholomew, Lisa Harriton, and The Lonely Island and performed by Tegan and Sara and The Lonely Island)</li>
<li>Lost Stars from Begin Again (written by Gregg Alexander, Danielle Brisebois, Nick Lashley, and Nick Southwood and performed by Adam Levine)</li>
<li>Big Eyes from Big Eyes (written by Lana Del Rey and Dan Heath and performed by Lana Del Rey)</li>
<li>Split the Difference from Boyhood (written by Ethan Hawke and performed by Ethan Hawke and Charlie Sexton)</li>
</ol>
<div>
Spoilers: Yellow Flicker Beat from The Hunger Games: Mockingjay, Part 1 (written by Lorde and Joel Little and performed by Lorde)</div>
<div>
Thoughts: Though it has no chance, The Last Goodbye from The Hobbit would be a fitting final recognition for the franchise.</div>
</div>
<div>
<br /></div>
<div>
<div>
Best Sound Editing:</div>
</div>
<div>
<ol>
<li>Interstellar</li>
<li>Guardians of the Galaxy</li>
<li>Unbroken</li>
<li>Fury</li>
<li>American Sniper</li>
</ol>
<div>
Spoilers: Whiplash; Birdman; The Hobbit; Into the Woods</div>
</div>
<div>
Thoughts: Think explosions, gunshots, etc. not how well you can hear the dialogue or how the music mixes with it.</div>
<div>
<br /></div>
<div>
<div>
Best Sound:</div>
<div>
<ol>
<li>Whiplash</li>
<li>Into the Woods</li>
<li>Interstellar</li>
<li>Unbroken</li>
<li>Guardians of the Galaxy</li>
</ol>
<div>
Spoilers: American Sniper; Fury</div>
<div>
Thoughts: Think about the things I just said not to think about. how well you can hear everything over explosions, etc. is also important though.</div>
</div>
</div>
<div>
<br /></div>
<div>
Best Visual Effects:</div>
<div>
<ol>
<li>Interstellar</li>
<li>Dawn of the Planet of the Apes</li>
<li>Guardians of the Galaxy</li>
<li>The Hobbit: The Battle of the Five Armies</li>
<li>X-Men: Days of Future Past</li>
</ol>
<div>
Spoilers: Who cares?</div>
</div>
<div>
Thoughts: See Spoilers</div>
<div>
<br /></div>
<div>
Best Animated Short:</div>
<div>
<ol>
<li>Feast</li>
<li>Duet</li>
<li>Coda</li>
<li>The Bigger Picture</li>
<li>The Dam Keeper</li>
</ol>
<div>
Spoilers: Symphony No. 42; Footprints; A Single Life; Me and My Moulton; The Numberlys</div>
<div>
Thoughts: Literally no idea</div>
</div>
<div>
<br /></div>
<div>
Best Documentary Short:</div>
<div>
<ol>
<li>Crisis Hotline: Veterans Press 1</li>
<li>The Lion's Mouth Opens</li>
<li>One Child</li>
<li>Joanna</li>
<li>Our Curse</li>
</ol>
<div>
Spoilers: White Earth; The Reaper: Kehinde Wiley: An Economy of Grace</div>
</div>
<div>
Thoughts: Death usually fares well here, hence all 5 deal with death or depression.</div>
<div>
<br /></div>
<div>
Best Live Action Short:</div>
<div>
<ol>
<li>Carry On</li>
<li>The Phone Call</li>
<li>Aya</li>
<li>Boogaloo and Graham</li>
<li>My Father's Truck</li>
</ol>
<div>
Spoilers: Baghdad Messi; Summer Vacation; Butter Lamp; Parvaneh; SLR<br />
Thoughts: Anyone?! Bueller?!</div>
</div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-52184255321348166352015-01-05T10:41:00.002-08:002015-01-27T13:43:57.718-08:00American SniperThis is going to be a very short review.<br />
<br />
American Sniper is a rather promising movie, but I can't help but feel its entirety is a mixed bag, almost always ending up on the negative side of that statement.<br />
<br />
It details the life of America's most deadly sniper, Chris Kyle, and while director Clint Eastwood does a bang-up job in the early going pacing Kyle's pre-sniper days very well, he seems to struggle with how to pace the ending, which is quite understandable as Kyle was murdered after the source autobiography as well as actual filming had actually begun. But despite this late stumble, Eastwood's direction is, on the whole, very good. I would argue he's the greatest actor-director in history (at least that I can think of while writing this sentence), and he has some truly stand-out moments, not least of which is the sandstorm scene.<br />
<br />
Nevertheless, the film is a true and honest testament to a modern day American hero and his struggles within himself to overcome the guilt of killing some of the (albeit deserving) people he killed and to overcome the PTSD he suffered back home.<br />
<br />
Bradley Cooper delivers a very strong performance, the best of his career (yes, even better than his outstanding Silver Linings Playbook work), and Sienna Miller is solid enough as well.<br />
<br />
The writing is what really destroys any chances the movie has at greatness of any sort. It is essentially an American propaganda piece without an ounce of understanding of cultural differences (not that I'm trying to give any excuse for Islamic militants). Strangely I found some of Cooper's strongest moments to be when he's making up for the script's massive shortcoming's, somehow reconciling Kyle's hearty agreement with a fellow soldier's noisy and ignorant (and often vulgar) blanket denunciation of Arabs, their culture, and the entirety of the Islamic religion and its followers in one scene, and showing incredible empathy for the plights of those whose denunciation he endorsed just a minute or two earlier. He also does a wondrous job making his PTSD believable and not over the top, especially since the script has absolutely no build-up to it. Considering the script's horrendousness, Clint Eastwood's ability to at least occasionally add some sort of unifying tone is quite a feat, even if it's only, as I implied, about one-quarter of the time.<br />
<br />
72Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2tag:blogger.com,1999:blog-4748974671055642707.post-29274273552585326092015-01-04T17:42:00.001-08:002015-01-05T14:20:16.867-08:00The Imitation Game<a href="http://4.bp.blogspot.com/-uSnm6Z7NFNs/VKnraXFRDYI/AAAAAAAABEk/6t0xm8CR45s/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-uSnm6Z7NFNs/VKnraXFRDYI/AAAAAAAABEk/6t0xm8CR45s/s1600/Poster.jpg" height="320" width="213" /></a><span style="font-family: 'Times New Roman';">The Imitation
Game is a British movie in the absolute best sense of the word. Understated yet
assertive, it rather conforms to its main thesis: Sometimes it is the people no
one imagines anything of who do the things that no one can imagine.</span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Superbly written
by Graham Moore from Andrew Hodges biography of one of the men most
misunderstood during his generation, The Imitation Game works equally well as a
biopic, an acting showcase, and a heartbreaking look at life’s injustices, and
only slightly less well as a thriller, though it never really tries to be one.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The film never
soapboxes, yet by the end, there is the definite sense that something special
has just been witnessed. Director Morten Tyldum deserves much credit for this.
He walks a fine line straddling emotional potency and emotional overbearance
and he does so with poise remarkable for a man directing his first
English-language work. Alexandre Desplat’s excellent score certainly does not
hurt either.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-fbhv4Rb3z6Q/VKnrWqnCX3I/AAAAAAAABEU/vy7mjqB0rtY/s1600/The%2BImitation%2BGame1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-fbhv4Rb3z6Q/VKnrWqnCX3I/AAAAAAAABEU/vy7mjqB0rtY/s1600/The%2BImitation%2BGame1.jpg" height="180" width="320" /></a><span style="font-family: "Times New Roman";">Neither do the
performances. As Alan Turing, Benedict Cumberbatch delivers a masterful
portrayal of a troubled genius nuanced so as to not resemble his Sherlock
Holmes even in the minutest sense. It is most surely a mannered performance,
but every mannerism feels incredibly natural and his emotional reveals are
handled expertly. His genius is not precocious, instead being comfortable in
his own skin because of a couple of loving persons. He makes Turing both a
wretched human being and one the audience cannot help but sympathize with.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-xQDXZV-xatY/VKnrXzrNjKI/AAAAAAAABEc/yN80xXTrZe0/s1600/The%2BImitation%2BGame2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-xQDXZV-xatY/VKnrXzrNjKI/AAAAAAAABEc/yN80xXTrZe0/s1600/The%2BImitation%2BGame2.jpg" height="155" width="320" /></a><span style="font-family: "Times New Roman";">Keira Knightley gives
arguably her best ever performance. Perhaps even more impressive, she’s
actually convincing at playing the brilliant Joan Clarke. The rest of the cast
is also up to the task and whether it be Mark Strong or Allen Leech, Charles
Dance or Matthew Goode, each is up to the task.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">But the movie is
more than just about Turing’s tremendous accomplishments and contributions to
the Allied war effort. It is also his homosexuality, and, perhaps more
importantly, about the injustice of life, in which a national hero, admittedly
unknown, can be convicted of a crime no matter how harmless.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The Imitation
game is an excellent film and a deserving tribute to a man whose singular
genius altered history.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The Imitation
Game is one of my favorite movies of the year, not just for Cumberbatch’s
performance or just for the complete Britishness of the proceedings, but for the
honestness of its portrayal of a man struggling with himself in a society that
cannot accept him.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<div class="MsoNormal">
<span style="font-family: "Times New Roman";">93<o:p></o:p></span></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-89805843694109888972014-12-28T15:32:00.000-08:002015-01-05T14:20:26.299-08:00Gone Girl<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-5rFM26198j0/VKCScknw7JI/AAAAAAAABDk/_79x8rpF4QU/s1600/Poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-5rFM26198j0/VKCScknw7JI/AAAAAAAABDk/_79x8rpF4QU/s1600/Poster.jpg" height="320" width="216" /></a><span style="font-family: "Times New Roman";">Before I saw
Gone Girl, I wasn’t expecting the best things. Many of the people whose
opinions I trust were somewhat underwhelmed by it, so I went in with low
expectations.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Needless to say,
those expectations were far exceeded. No, it’s certainly not a perfect film,
but it’s certainly a very, very good one.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Let’s begin with
what’s wrong with it. Like so many of the movies I’ve seen this year, the
movie’s biggest weakness is its direction. Arguably the living king of the
thriller, David Fincher fails to really find the right tone for his film.
Fincher needed to find the right mix between a thriller and a movie about
everyday life, as the movie is largely about how Ben Affleck’s character
attempts to go on living his everyday life even as it is being ripped up all
around him.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Unfortunately,
Fincher does not really succeed, and it is not really until the film’s final,
more thriller-oriented act that he really finds his directorial stride. The
rest of the time, he seems to find himself unable to insert the necessary
thriller edge, and the film’s tone is rather too pedestrian for much of the
runtime as a result. In other words, the movie should mostly be about and feel
like the everyday, but it should always have that thriller edge, which it is
oftentimes lacking.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-CiqYRaSEA3I/VKCSgHZhktI/AAAAAAAABD8/9GXSHbHtl84/s1600/Gone%2BGirl3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-CiqYRaSEA3I/VKCSgHZhktI/AAAAAAAABD8/9GXSHbHtl84/s1600/Gone%2BGirl3.jpg" height="180" width="320" /></a><span style="font-family: "Times New Roman";">The movie is
written by Gillian Flynn, who wrote the source novel, and I really did not come
to a full appreciation for her script until I was able to look back on the
movie after it was over. The early flashback scenes are utter brilliance as she
uses a keen ear for dialogue to create conversations that are too good to be
true. The way it never telegraphs anything and only shows you the parts of the
picture you should be able to see at any given moment is also quite admirable.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-i5mFJYd074k/VKCSe4xjKwI/AAAAAAAABDs/R5i_gxlO37w/s1600/Gone%2BGirl1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-i5mFJYd074k/VKCSe4xjKwI/AAAAAAAABDs/R5i_gxlO37w/s1600/Gone%2BGirl1.png" height="180" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Along a
different vein, with their contribution to this film, it seems David Fincher
has found the perfect creative team. Trent Reznor and Atticus Ross’s score is
terrific and rivals the excellence of The Girl with the Dragon Tattoo. Jeff
Baxter’s editing and Jeff Cronenweth’s cinematography are likewise excellent.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The film’s
acting is probably its greatest strength, and perhaps its greatest surprise as
well. Ben Affleck carries the movie quite well. He uses his limitations as an
actor brilliantly in creating a character that was completely out of touch with
his life before his wife’s disappearance and that is completely out of his
depth after the disappearance. His lack of conviction is also handled
impeccably well as Affleck makes his reluctant interest feel completely natural.
It is an outstanding performance, easily his best since his Oscar-worthy work
in Hollywoodland, and another sign, along with the work I just mentioned, that
he has talent if he is challenged in the right ways.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-OsE2bRN82XM/VKCSfEMSK0I/AAAAAAAABDw/BPmH045bYbE/s1600/Gone%2BGirl2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-OsE2bRN82XM/VKCSfEMSK0I/AAAAAAAABDw/BPmH045bYbE/s1600/Gone%2BGirl2.jpg" height="176" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">As Affleck’s
wife, Rosamund Pike is stunning. She takes on a deceptively hard character, and
succeeds wonderfully. She takes two seemingly completely disparate
personalities, the normal and the psychotic, and masterfully combines them into
a single, completely believable human being. Simply stunning.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The supporting
parts are also mostly well handled, not least by Carrie Coon as Affleck’s
sister. As the investigating detective, Kim Dickens is also effective at
portraying the appropriate sense that she strongly believes something but has
to put her personal beliefs on the back burner until the evidence shows them to
be true.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-BIYs4bQ9xUo/VKCSgdE7QxI/AAAAAAAABEA/c5tFQtUV9HY/s1600/Gone%2BGirl4.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-BIYs4bQ9xUo/VKCSgdE7QxI/AAAAAAAABEA/c5tFQtUV9HY/s1600/Gone%2BGirl4.jpeg" height="134" width="320" /></a><span style="font-family: "Times New Roman";">Tyler Perry is
never anything special, but as the big-shot attorney, he exudes a truly
astounding amount of charisma. Neil Patrick Harris, while certainly
distracting, is not at all close to the terribleness Matt Damon achieved in
Interstellar.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">All in all, I
was far more pleased with Gone Girl than I expected to be.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman";">90</span></div>
<o:p></o:p>Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com3tag:blogger.com,1999:blog-4748974671055642707.post-8090757761816861982014-12-28T14:49:00.004-08:002015-01-05T14:22:28.898-08:00Interstellar<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-OrFOoAW39Q0/VKCIAx9AvbI/AAAAAAAABC0/xjTsJdAZXjY/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-OrFOoAW39Q0/VKCIAx9AvbI/AAAAAAAABC0/xjTsJdAZXjY/s1600/Poster.jpg" height="200" width="128" /></a></div>
<span style="font-family: "Times New Roman";">Of all of the
movies coming out in 2014, this was probably the one I was looking forward to
the most. Overall, I must say it was a mixed bag. With Christopher Nolan at the
helm, it would be unrealistic to expect anything other than a great movie, but
it was, at best, just that. It was not an excellent movie or a brilliant one.
In many ways, it was a disappointment.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">It most
certainly is an ambitious movie, visually, scientifically, imaginatively. But
therein lies much of its problems. There is too much suspension of disbelief
required in the late-going, a problem only saved by Matthew McConaughey, and
the entire thriller section in the middle is telegraphed (and therefore
unsurprising), absurd, and completely distracting due to the overrated Matt
Damon’s presence. Just like the plot twists in The Dark Knight Rises, these
moments and sequences make it seem like Nolan is just going for ambition for
its own sake right now, and I hope he stops soon. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-oCXZspKfQVQ/VKCIEMavyVI/AAAAAAAABDM/9IOLpPI2xB4/s1600/Interstellar2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-oCXZspKfQVQ/VKCIEMavyVI/AAAAAAAABDM/9IOLpPI2xB4/s1600/Interstellar2.jpg" height="134" width="320" /></a><span style="font-family: "Times New Roman";">The movie is
about humanity destroying itself and then pushing its limits to persevere and
save itself from self-imposed extermination. This is all fine, well, and good,
but maybe Nolan and his brother should have persevered and saved their own
movie from self-imposed extermination by coming up with a different reason to
fear for the mission’s success that did not involve Matt Damon.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-qynpWcpiNCk/VKCIClV3PcI/AAAAAAAABC8/WrG1bZLdM-U/s1600/Interstellar1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-qynpWcpiNCk/VKCIClV3PcI/AAAAAAAABC8/WrG1bZLdM-U/s1600/Interstellar1.jpg" height="150" width="200" /></a><span style="font-family: "Times New Roman";">The rest of the
movie, though, is breathtaking and brilliant. The visual effects are stunning,
as is the art direction. Hans Zimmer’s score is another tone poem, and it works
quite well. Similar to Emmanuel Lubezki’s work in Gravity, Hoyte van Hoytema
finds a way to make his cinematography gorgeous and great, even when he’s
limited to unusual angles in CGI background scenes.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-pupjIKgJQHo/VKCIDu6CcLI/AAAAAAAABDA/94cQqiKmkmI/s1600/Interstellar3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-pupjIKgJQHo/VKCIDu6CcLI/AAAAAAAABDA/94cQqiKmkmI/s1600/Interstellar3.jpg" height="180" width="320" /></a></div>
<span style="font-family: "Times New Roman";">The movie really
succeeds, though, because of its acting. Matthew McConaughey is an able and
effortlessly charismatic lead throughout, but he furthers that by taking
advantage of his every emotional scene. His scene while watching his daughter Murph
grow up before his eyes is the stuff legends are made of.</span><br />
<span style="font-family: 'Times New Roman';"><br /></span>
<span style="font-family: 'Times New Roman';">And as Murph, Jessica
Chastain and Mackenzie Foy are both solid and manage to play off of each other
rather well.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Anne Hathaway
and Michael Caine are fine, but neither really overcomes the limitations the
script places upon them. Bill Irwin as the voice of the robot TARS, is really
the only other performance worthy of mention above all the others.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-SdeHxZ_JU2g/VKCIHdD7xyI/AAAAAAAABDU/HI3gdxjJ1qU/s1600/Interstellar4.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-SdeHxZ_JU2g/VKCIHdD7xyI/AAAAAAAABDU/HI3gdxjJ1qU/s1600/Interstellar4.png" height="145" width="200" /></a><span style="font-family: "Times New Roman";">So all in all,
it has that wow factor, but once you get past the “I just got my mind blown”
moments, which it admittedly has in spades, the acting is really what keeps it
all standing.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">No, it's not really trying to be 2001: A Space Odyssey at all, but it's hard to really go to bat for it in any sort of committed capacity regardless.</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman";">83</span><br />
<span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2tag:blogger.com,1999:blog-4748974671055642707.post-82635349913683487252014-12-28T14:13:00.003-08:002015-01-05T14:21:49.336-08:00Nightcrawler<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-pJan0clhF3g/VKCAS0FBrRI/AAAAAAAABCU/Z13KjUv6nvQ/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-pJan0clhF3g/VKCAS0FBrRI/AAAAAAAABCU/Z13KjUv6nvQ/s1600/Poster.jpg" height="200" width="134" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">It is an exceedingly rare
event for a fledgling writer-director to achieve excellence with his or her
first effort. With Nightcrawler, Dan Gilroy has achieved excellence. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Gilroy’s direction
brilliantly creates a perfectly intense and thrilling atmosphere, which is only
aided by James Newton Howard’s great, Drive-like score. Gilroy’s script goes
the extra mile, developing the characters and not just leaving them to act as
pawns of the storyline. As the film is in many ways a character study, this is
especially true and noteworthy of the main supporting characters.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-FODM4QrDJAc/VKCAVxsC8RI/AAAAAAAABCc/cbQ6KDK6YyY/s1600/Nightcrawler1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-FODM4QrDJAc/VKCAVxsC8RI/AAAAAAAABCc/cbQ6KDK6YyY/s1600/Nightcrawler1.png" height="118" width="200" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Nightcrawler was given little
chance by the general public because it was advertised as a sort of horror
movie. This is exceedingly unfortunate as, while it is certainly not easy to
sit through at times, this has everything to do with its fascinating
protagonist and nothing to do with cheap scare tactics.<o:p></o:p></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-Iuu2GuqqKvk/VKCAWVnISuI/AAAAAAAABCg/HqJV0oC9vVU/s1600/Nightcrawler2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Iuu2GuqqKvk/VKCAWVnISuI/AAAAAAAABCg/HqJV0oC9vVU/s1600/Nightcrawler2.jpeg" height="140" width="200" /></a></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">This sociopathic protagonist,
Louis Bloom, portrayed by Jake Gyllenhaal in a towering and fascinating 5-star
performance of an intensely unlikable, profoundly watchable character, drives
the plot through his gradual descent. The exploration of the depths to which he
will sink to get the next big break is both nerve-racking and effortlessly
watchable. It is easily the best performance of Gyllenhaal’s career and will be
a hard one to top by anyone else I see.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The supporting cast, anchored
by the solid, and sometimes heartbreaking, performances of Rene Russo and Reza
Ahmed, ably-handles their parts.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">At this unfortunately early
stage in my movie-viewing efforts this year, this is my favorite movie yet, and
it will take something rather special to unseat it. We’ll have to see if the
consensus choice, Birdman, can do it.</span></div>
<br />
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">94<o:p></o:p></span></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-76551084450515830842014-12-28T13:51:00.002-08:002015-01-05T14:22:09.976-08:00The Hobbit: The Battle of the Five Armies<div class="MsoNormal">
<span style="font-family: 'Times New Roman';">My thoughts will be
relatively short.</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-Y3HfcjD4NMQ/VKBxsPLJe_I/AAAAAAAABBU/KlFvOhcURCo/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Y3HfcjD4NMQ/VKBxsPLJe_I/AAAAAAAABBU/KlFvOhcURCo/s1600/Poster.jpg" height="320" width="215" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The last decade and a half
have given us the opportunity to witness three of the new millennium's first decade's best films and three of the second’s most ambitious, if mediocre.
It has given us the opportunity to witness the occasional brilliance Peter
Jackson can achieve when directing the spectacle and the intimate moment in
rapid succession. They have also showed us his apparent weakness for the
spectacular, something which served him less than well with The Hobbit’s first
installment and which only worked with its second because the moments of
spectacle were given slightly lesser weight than the intimate ones.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Unfortunately the third and
final Middle Earth installment ever, is saddled with action whose importance in
the grand scheme of things is, according to the movie, much greater than it
actually is.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">For this third Hobbit is hurt
most not by its lackluster continuity, as the first one was, but by its
apparent lack of care about the characters the audience has been with for the
preceding 6 hours.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-HNhCyeorfL4/VKBxtpzaoFI/AAAAAAAABBc/85otavpf0Tg/s1600/The%2BHobbit1.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-HNhCyeorfL4/VKBxtpzaoFI/AAAAAAAABBc/85otavpf0Tg/s1600/The%2BHobbit1.jpeg" height="133" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">This is not to say that its
action scenes are not entertaining. Quite the opposite, in fact. They are
thoroughly so. But they receive so much emphasis it’s hard to imagine what
Jackson and co-screenwriters Fran Walsh, Philippa Boyens, and Guillermo del
Toro were thinking. In a movie of such relatively abbreviated runtime as this,
to, for instance, take the time to have Legolas do a slow motion jump sequence
is an insult to the book, the film series, and everyone who cares even
semi-passionately about either of them.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-rErdhOabGj0/VKBxuPXQuII/AAAAAAAABBk/v2jQFyy1tHQ/s1600/The%2BHobbit2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-rErdhOabGj0/VKBxuPXQuII/AAAAAAAABBk/v2jQFyy1tHQ/s1600/The%2BHobbit2.jpg" height="200" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">This stands as a detriment to
virtually of the performances. Richard Armitage’s great work as an increasingly
dragon-sick Thorin Oakenshield is arguably the sole exception. He handles his
descent into madness very well and is equally believable in his return to his
senses, his scene with Dwalin (I think) being of particular note. That being
said, he could have been even better if given more opportunity by Peter Jackson.
Some of Jackson’s staging choices and cinematography choices are
head-scratchers and his decision to make the gold floor swirl around and stuff
instead of zooming in on Armitage’s face is confusing at best. Additionally,
one or two more scenes on the recovery end would have done wonders for his
performance and would have almost certainly pushed him over the top for me.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-1-KR3jmseE8/VKBxyv1cpEI/AAAAAAAABBs/Oc1x2bNQQ14/s1600/The%2BHobbit3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-1-KR3jmseE8/VKBxyv1cpEI/AAAAAAAABBs/Oc1x2bNQQ14/s1600/The%2BHobbit3.jpg" height="134" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Martin Freeman is one of my
favorite actors working today because he is so darn likable and because he
uses the same stock mannerisms to create such unique characters. He delivers
here just as he did in the first two installments. But he could have been even
better had Jackson given him more of an opportunity to shine.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">There are a few other players
worthy of mention. Graham McTavish, who I’m pretty sure plays Dwalin, is my
favorite of the dwarves, and Luke Evans follows up his MVP performance in the 2<sup>nd</sup> movie (by my reckoning) with another solid, if lesser, effort
here, that could have been helped by more focus on Jackson’s part. Billy
Connolly is thoroughly entertaining in his very short time, and Evangeline
Lilly, though largely lost (see what I did there?!?!) and forgotten for most of
the movie, somehow makes her ridiculous romance with the hot dwarf worthwhile
with her final scene.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-xocYnX0IoNo/VKBxzeI6vKI/AAAAAAAABB0/IeouevsffC4/s1600/The%2BHobbit5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-xocYnX0IoNo/VKBxzeI6vKI/AAAAAAAABB0/IeouevsffC4/s1600/The%2BHobbit5.jpg" height="212" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">On the other side of that
coin, Lee Pace once again stinks it up with his effortlessly unintimidating
performance. He is supposedly some sort of villain, at least to some degree.
His character is given more potential depth in the finale, but he fails to capitalize
on it in anything but his final scene, which is admittedly well done. Orlando
Bloom is so universally bad all the time in every aspect of his acting career
he need not be discussed here.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">Howard Shores score
brilliantly weaves together all of his prior themes into a wonderful score, and
the special effects and set design are excellent as they have been in both of
the predecessors, but it’s just not New Zealand, and that’s a real shame.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">The one leg up I will give
this final Hobbit movie over its predecessors is its credits song, featuring
Billy Boyd’s extraordinary and magical voice. Its musical and lyrical tones as well as
its instrumentation are all far more in line with the movie’s and series’ tone
than those of either of its 2 predecessors were.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-r7DLJgPdlRo/VKByIufvLWI/AAAAAAAABCE/n3oEqXLT6i8/s1600/The%2BHobbit6.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-r7DLJgPdlRo/VKByIufvLWI/AAAAAAAABCE/n3oEqXLT6i8/s1600/The%2BHobbit6.png" height="132" width="320" /></a><span style="font-family: "Times New Roman"; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi;">So all in all it’s a mixed
bag for me. It had tons of potential, only some of which was realized. Peter
Jackson’s direction of the action scenes, which are, admittedly, very
entertaining, and some of the more comedic scenes, which are very funny and
which does not include Bilbo’s return to the Shire, is great, but his inability
to discern the less important elements of the story from the more frivolous
elements is a shame. Whether this weakness was brought on by his own failings
or by the whims of studio executives does not matter as Jackson takes the
blame, unfortunate and unfair as that may be.<o:p></o:p></span></div>
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70</div>
<o:p></o:p>Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com1tag:blogger.com,1999:blog-4748974671055642707.post-31363754887286099592014-12-17T12:43:00.002-08:002015-04-21T19:40:17.533-07:00What I Would Have Nominated in 2014Despite seeing 4 movies in the past month (maybe a little longer than that), I have yet post a review on any one of them. Now that I'm finished with finals and the hellish world of taking 18 hours in one semester and am back home, I 100% promise that at least one review will be up by the end of the week. Hopefully everything I've seen will be reviewed by then, but I promise at least one.<br />
<div>
<br /></div>
<div>
Before that, however, I figured I'd do my annual post about what I would have nominated this year. This is essentially my top 10s in the 8 major categories, and will be updated every time I see a new movie. In matters such as this, suspense is overrated, so I'm including the 4 movies I've yet to review. You'll just have to wait to see why.</div>
<div>
<br /></div>
<div>
Also, if you look through the rankings and can think of a performance from a movie you know I've seen that I haven't listed that you want to know my thoughts on, ask! Who knows. I may have even forgotten about it and meant to include it.</div>
<div>
<br /></div>
<div>
Best Picture:</div>
<div>
<ol>
<li>Nightcrawler-94</li>
<li>The Grand Budapest Hotel-93</li>
<li>The Imitation Game-93</li>
<li>A Most Wanted Man-93</li>
<li>The Lego Movie-90</li>
<li>Gone Girl-87</li>
<li>How to Train Your Dragon 2-84</li>
<li>Interstellar-83</li>
<li>22 Jump Street-83</li>
<li>X-Men: Days of Future Past-80</li>
</ol>
<div>
Other Films with Scores >80: Guardians of the Galaxy; Belle; Boyhood</div>
</div>
<div>
<br /></div>
<div>
Best Director:</div>
<div>
<ol>
<li>Dan Gilroy for Nightcrawler</li>
<li>Christopher Nolan for Interstellar</li>
<li>Anton Corbijn for A Most Wanted Man</li>
<li>Wes Anderson for The Grand Budapest Hotel</li>
<li>Morten Tyldum for The Imitation Game</li>
<li>Clint Eastwood for American Sniper</li>
<li>Richard Linklater for Boyhood</li>
<li>Phil Lord and Christopher Miller for The Lego Movie</li>
<li>David Fincher for Gone Girl</li>
<li>Peter Jackson for The Hobbit: The Battle of the Five Armies</li>
<li>James Gunn for Guardians of the Galaxy</li>
</ol>
</div>
<div>
Best Actor:</div>
<div>
<ol>
<li>Jake Gyllenhaal in Nightcrawler as Louis Bloom-5</li>
<li>Benedict Cumberbatch in The Imitation Game as Alan Turing-5</li>
<li>Philip Seymour Hoffman in A Most Wanted Man as <span style="font-family: Times, Times New Roman, serif;">Günther Bachmann</span><span style="font-family: Times New Roman;">-5</span></li>
<li>Ralph Fiennes in The Grand Budapest Hotel as Monsieur Gustave H.-5</li>
<li>Bradley Cooper in American Sniper as Chris Kyle-5</li>
<li>Matthew McConaughey in Interstellar as Cooper-5</li>
<li>Ben Affleck in Gone Girl as Nick Dunne-4.5</li>
<li>James McAvoy in X-Men: Days of Future Past as Charles Xavier/Professor X-4.5</li>
<li>Channing Tatum in 22 Jump Street as Greg Jenko-4</li>
<li>Martin Freeman in The Hobbit: The Battle of the Five Armies as Bilbo Baggins-4</li>
<li>Jonah Hill in 22 Jump Street as Morton Schmidt-4</li>
<li>Chris Pratt in Guardians of the Galaxy as Peter Quill/Star-Lord-4</li>
</ol>
<div>
Best Actress:</div>
</div>
<div>
<ol>
<li>Gugu Mbatha-Raw in Belle as Dido Belle Lindsay-5</li>
<li>Rosamund Pike in Gone Girl as Amy Elliott-Dunne-5</li>
</ol>
</div>
<div>
Best Supporting Actor:</div>
<div>
<ol>
<li>Ethan Hawke in Boyhood as Mason Evans, Sr.-4.5</li>
<li>Richard Armitage in The Hobbit: The Battle of the Five Armies as Thorin Oakenshield-4.5</li>
<li>Luke Evans in The Hobbit: The Battle of the Five Armies as Bard the Bowman-4</li>
<li>Bradley Cooper in Guardians of the Galaxy as Rocket-4</li>
<li>Riz Ahmed in Nightcrawler as Rick-4</li>
<li>Willem Dafoe in A Most Wanted Man as Tommy Brue-3.5</li>
<li>Tom Wilkinson in Belle as William Mansfield, 1st Earl of Mansfield-3.5</li>
<li>Mark Strong in The Imitation Game as Major General Stewart Menzies-3.5</li>
<li>Matthew Goode in The Imitation Game as Hugh Alexander-3.5</li>
<li>Charles Dance in The Imitation Game as Commander Alastair Denniston-3.5</li>
</ol>
Best Supporting Actress:</div>
<div>
<ol>
<li>Eva Green in 300: Rise of an Empire as Artemisia-4.5</li>
<li>Rene Russo in Nightcrawler as Nina Romina-4</li>
<li>Keira Knightley in The Imitation Game as Joan Clarke-4</li>
<li>Jessica Chastain in Interstellar as Murphy "Murph" Cooper-4</li>
<li>Carrie Coon in Gone Girl as Margo "Go" Dunne-4</li>
<li>Mackenzie Foy in Interstellar as Murphy "Murph" Cooper (young)-4</li>
<li>Patricia Arquette in Boyhood as Olivia Evans-3.5</li>
<li>Rachel McAdams in A Most Wanted Man as Annabel Richter-3.5</li>
<li>Evangeline Lilly in The Hobbit: The Battle of the Five Armies as Tauriel-3.5</li>
<li>Anne Hathaway in Interstellar as Amelia Brand-3.5</li>
</ol>
</div>
<div>
Best Adapted Screenplay:</div>
<div>
<ol>
<li>The Imitation Game (Graham Moore, from the book <i>Alan Turing: The Enigma</i> by Andrew Hodges)</li>
<li>A Most Wanted Man (Andrew Bovell, from the novel by John le <span style="background-color: white; line-height: 22.3999996185303px;"><span style="color: orange; font-family: Times, Times New Roman, serif;">Carré)</span></span></li>
<li>Gone Girl (Gillian Flynn, for her novel)</li>
<li>22 Jump Street (Michael Bacall, Oren Uziel, Rodney Rothman, and Jonah Hill, from the TV series <i>21 Jump Street</i> created by Patrick Hasburgh and Stephen J. Cannell, and the film <i>21 Jump Street</i>, written by Michael Bacall and Jonah Hill and directed by Phil Lord and Christopher Miller)</li>
<li>How to Train Your Dragon 2 (Dean DeBlois, from the children's book series <i>How to Train Your Dragon</i> by Cressida Cowell)</li>
<li>The Hobbit: The Battle of the Five Armies (Fran Walsh, Philippa Boyens, Peter Jackson, and Guillermo del Toro, from the novel <i>The Hobbit</i> by J.R.R. Tolkien)</li>
<li>Guardians of the Galaxy (James Gunn and Nicole Perlman, from the comic book series by Dan Abnett and Andy Lanning)</li>
<li>X-Men: Days of Future Past (Simon Kinberg, Jane Goldman, and Matthew Vaughn, from the comic books "Days of Future Past" by Chris Claremont and John Byrne)</li>
<li>American Sniper (Jason Hall, from the memoir by Chris Kyle, Scott McEwen, and Jim DeFelice)</li>
<li>300: Rise of an Empire (Zack Snyder and Kurt Jonstad, from the graphic novel <i>Xerxes</i> by Frank Miller)</li>
</ol>
<div>
Best Original Screenplay:</div>
</div>
<div>
<ol>
<li>The Lego Movie (Phil Lord, Christopher Miller, Dan Hageman, and Kevin Hageman)</li>
<li>Nightcrawler (Dan Gilroy)</li>
<li>The Grand Budapest Hotel (Wes Anderson)</li>
<li>Interstellar (Christopher Nolan and Jonathan Nolan)</li>
<li>Belle (Misan Sagay)</li>
<li>Boyhood (Richard Linklater)</li>
</ol>
</div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2tag:blogger.com,1999:blog-4748974671055642707.post-25798732592350183752014-09-16T21:07:00.001-07:002015-01-05T14:22:46.373-08:00How to Train Your Dragon 2I saw How to Train Your Dragon 2 about a month ago and still have not written a full review of it, so I think I should stop lying to myself and just do a short write-up and be done with it.<br />
<div>
<br /></div>
<div>
I loved the first installation in the How to Train Your Dragon series. I thought the voice work was all top-notch, the animation sublime, the story refreshingly original in all the ways you could reasonably hope for (it is a children's movie first and foremost, after all), the best musical score of the year, and one of the most adorable characters ever in Toothless.</div>
<div>
<br /></div>
<div>
The second installation is good, but not as good as the first. The animation is even better and the score is equally as good, if not better, and Toothless is still adorable and all, but some of the voice acting and some of the story is lacking. I'm speaking, of course, about the storyline involving Hiccup's mother. The storyline seems forced and is very tonally inconsistent. I don't think this has anything to do with direction or anything, but it instead has everything to do with Cate Blanchett's overly sappy voice work. The movie is very heartfelt 100% of the time, even when Blanchett's character (Valka) isn't on screen, but her lines sound forced, like she's trying to make them have an impact.</div>
<div>
<br /></div>
<div>
Other than that, though, the voice work is great. Jay Baruchel is again perfectly cast, Gerard Butler gives a better performance than he's ever given in a live-action role, and Kit Harrington is a great addition to the voice cast.</div>
<div>
<br /></div>
<div>
Unfortunately, it's the negatives that have stuck with me more. Originally I was going to award the movie somewhere in the region of an 86 or an 87, but now not so much.</div>
<div>
<br /></div>
<div>
84</div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2tag:blogger.com,1999:blog-4748974671055642707.post-80482402199774525462014-08-19T18:13:00.002-07:002015-01-05T15:18:11.227-08:00Recaps<span style="color: orange;">Here's a couple of very short write-ups I've posted on Facebook of 2014 movies I haven't seen while in theaters.</span><br />
<span style="color: orange;"><span style="font-family: Times, Times New Roman, serif;"><br /></span>
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<span style="background-color: white; line-height: 20px;"><span style="color: orange; font-family: Times, Times New Roman, serif;">300: Rise of an Empire was really not very good. The scripting is horrendous, and the overcooked nature of the action becomes brutally redundant rather quickly. That being said, I still enjoyed the movie. Eva Green gives a performance reminiscent of Raul Julia in Street Fighter, making her movie better with every line she says. Trouble is her movie isn't as bad as Street Fighter and she's not as good at it as Julia. But she's still awesome. The rest of the cast actually aren't too bad either. -- 45</span></span></div>
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<span style="background-color: white; line-height: 20px;"><span style="color: orange; font-family: Times, Times New Roman, serif;"><br /></span></span></div>
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<span style="background-color: white; line-height: 20px;"><span style="color: orange; font-family: Times, Times New Roman, serif;">Finally got around to watching The Grand Budapest Hotel. I have no qualms about calling this Wes Anderson's best movie, overtaking Moonrise Kingdom. It's a wild, completely engrossing ride helmed by Ralph Fiennes's 5-star performance. Anderson's dialogue flows effortlessly, and his direction is pitch-perfect. -- 93</span></span></div>
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<span style="color: orange; font-family: Times, Times New Roman, serif;"><span style="background-color: white; line-height: 20px;">The Lego Movie was just as good as everybody's saying. No, it's not on-par with the best animation has ever had to offer, but it's child-centric take on 21/22 Jump Street humor is downright intoxicating and hysterical. The voice acting is superb, especially Chris Pratt, Morgan Freeman, Will Arnett, and Will Ferrell. The animation i</span><span class="text_exposed_show" style="background-color: white; display: inline; line-height: 20px;">s brilliantly executed for great comedic effect, and the message is perfect in every way. -- 88</span></span></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2tag:blogger.com,1999:blog-4748974671055642707.post-30777761009019415612014-08-19T18:01:00.001-07:002015-01-05T14:24:53.416-08:00A Most Wanted Man<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-0NYpvjadXDw/U_Pygyv6uRI/AAAAAAAAA_8/4dMxKe5RNGE/s1600/A%2BMost%2BWanted%2BMan1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-0NYpvjadXDw/U_Pygyv6uRI/AAAAAAAAA_8/4dMxKe5RNGE/s1600/A%2BMost%2BWanted%2BMan1.jpg" height="320" width="216" /></a><span style="font-family: "Times New Roman";">Film adaptations
of John le Carré novels are arguably the most engrossing and intelligent spy
thrillers around. Carré’s novels have been adapted for the big screen 8 times;
the 9th and newest addition, Anton Corbijn’s A Most Wanted Man, is
among the finest of the adaptations and further proof of the quality of Carré’s
works as inimitable sources of smart, thoughtful movies.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">It is a subtle
work and an exceedingly thrilling one. Yet the characters rarely, if ever, move
at anything faster than a walk, or their cars the speed limit. Not until the
finale does a true action sequence occur, and I am hard-pressed to remember the
firing of a single weapon.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The movie
follows Günther Bachmann, the head of the German’s Hamburg-based anti-terrorism
espionage unit. He and his team move to acquire a newly arrived Chechen named
Issa Karpov who is perceived as a potential future threat, while simultaneously
tracking the activities of Muslim philanthropist Dr. Faisal Abdullah.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-wnzXRXJZEZA/U_Pyil6_qUI/AAAAAAAABAM/UFkly-mp_CQ/s1600/A%2BMost%2BWanted%2BMan3.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-wnzXRXJZEZA/U_Pyil6_qUI/AAAAAAAABAM/UFkly-mp_CQ/s1600/A%2BMost%2BWanted%2BMan3.png" height="180" width="320" /></a><span style="font-family: "Times New Roman";">The movie thrives
under Australian screenwriter Andrew Bovell’s rich, layered script, which is
aided by Claire Simpson’s well-done, seamless editing and Benoit Delhomme’s
intermittently interesting, always solid cinematography. His focus shifting,
particularly during a scene of two of the characters playing chess, is rather
brilliant, and the movie as a whole is gorgeously shot.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The cast is
pretty close to uniformly great. In his final leading role, Philip Seymour
Hoffman gives a powerful performance that rises above any minute limitations
the script places upon him. He effortlessly embodies his German character, even
though he abandons his nearly unintelligible accent within the first 5 minutes
and adopts a completely un-German, though certainly altered, accent. This shift
is the only misstep in his otherwise sterling work.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-gDB3HccesYE/U_PyhjTMfcI/AAAAAAAABAE/OEeaUQMAmHk/s1600/A%2BMost%2BWanted%2BMan2.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-gDB3HccesYE/U_PyhjTMfcI/AAAAAAAABAE/OEeaUQMAmHk/s1600/A%2BMost%2BWanted%2BMan2.jpeg" height="187" width="320" /></a><span style="font-family: "Times New Roman";">The main
supporting cast is rather good. Rachel McAdams, despite an awkward, rocky
start, she settles in nicely, and while she never escapes her tendency to give
performances that feel oddly empty (a quality that made her best performance to
date, Mean Girls, unforgettable), she still fulfills her role admirably.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Robin Wright
plays a role somewhat similar to her role on House of Cards, and she plays it
quite convincingly. I could have used slightly more of the deviousness she utilizes
so well in House of Cards.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Outside of
Hoffman, Willem Dafoe gives the best performance in the movie. He rather
effectively portrays the porous pompousness of his rich banker as well as his
strong desire to right the wrongs of his father.<o:p></o:p></span></div>
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<br /></div>
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<a href="http://3.bp.blogspot.com/-uXbAIF4z4a0/U_PzQcLkL4I/AAAAAAAABAc/ggEX1Pv6qH8/s1600/A%2BMost%2BWanted%2BMan5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-uXbAIF4z4a0/U_PzQcLkL4I/AAAAAAAABAc/ggEX1Pv6qH8/s1600/A%2BMost%2BWanted%2BMan5.jpg" height="133" width="320" /></a><span style="font-family: "Times New Roman";">The cast’s
weaknesses come in the smaller, yet pivotal parts. Grigoriy Dobrygin, despite
actually being Russian, has an rather unconvincing Russian accent as Issa
Karpov, and Homayoun Ershadi’s performance as Dr. Abdullah is nothing special.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">The movie’s best
quality, even better than Hoffman, is Corbijn’s direction. The Dutchman, who
made his name as the music video director and visual creative director for both
Depeche Mode and U2, showed his skill at the slow-burn thriller with The
American, and his work here cements his abilities as perhaps the foremost
director in the genre around today. His every move is masterful and only serves
to build the tension that makes the movie so thrilling.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-xZtJgLQwdVg/U_Pyiy4VY4I/AAAAAAAABAQ/XAyuRjWx-1A/s1600/A%2BMost%2BWanted%2BMan4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-xZtJgLQwdVg/U_Pyiy4VY4I/AAAAAAAABAQ/XAyuRjWx-1A/s1600/A%2BMost%2BWanted%2BMan4.jpg" height="177" width="320" /></a></div>
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<span style="font-family: "Times New Roman";">All the
unqualified praise I have heaped upon the movie, there is one weakness that
also plagued Tomas Alfredson’s Tinker Tailor Soldier Spy. There just seems to
be something missing. The suspense is there, and so is the high quality of the
contributing elements, but it never quite reached the heights it needs to reach
masterpiece level.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">Overall, it’s a
great movie with an interesting dilemma. We all want the world to be a better
place, but what’s the best method to achieve that end: Take out your enemies or control them?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman";">93</span></div>
<o:p></o:p>Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com1tag:blogger.com,1999:blog-4748974671055642707.post-48845747013054676942014-08-03T13:27:00.003-07:002015-01-05T14:24:36.917-08:00Guardians of the Galaxy<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-9J97VwasHPU/U96bAe5M_pI/AAAAAAAAA_M/gjYhhuJ6a-o/s1600/Guardians+of+the+Galaxy.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-9J97VwasHPU/U96bAe5M_pI/AAAAAAAAA_M/gjYhhuJ6a-o/s1600/Guardians+of+the+Galaxy.jpg" height="320" width="215" /></a><span style="font-family: "Times New Roman";">Like X-Men: Days
of Future Past, Guardians of the Galaxy is a movie for those who want to see
superhero movies taken in a different direction. Instead of taking its
superhero-ness seriously, it subverts the tropes of the genre, and the result
is, at times, genius.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">I say “at times”
because it doesn’t always work. The movie takes itself too seriously
emotionally speaking, and while this sort of thing can be done well, such as in
X-Men: Days of Future Past, most of the serious, emotional scenes fall flat.
Only the finale feels real. Much of the blame for this has to fall to James
Gunn, the director, for while the script he co-wrote makes both the fun-loving
and the serious sections equals, his direction fails to create the uniqueness
of place necessary to juxtapose such scenes and still have a separation of
tone. As a result, many of the serious scenes, while certainly full of heart,
something the film has in abundance, feel unfortunately wrong. Fortunately this
is the film’s biggest flaw.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman";">Like many
superhero flicks, the movie suffers from a case of exposition disorder. That
is, it occasionally strays into sequences during which exposition is thrown out
at every turn, causing the casual viewer to tune it out, which is rather
unfortunate if a nugget of necessary information is embedded deep within the
otherwise esoteric monologue.<o:p></o:p></span></div>
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<br /></div>
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<a href="http://1.bp.blogspot.com/-fydM7jqDR30/U96bBRmdCTI/AAAAAAAAA_U/v72waNraWbI/s1600/Guardians+of+the+Galaxy2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-fydM7jqDR30/U96bBRmdCTI/AAAAAAAAA_U/v72waNraWbI/s1600/Guardians+of+the+Galaxy2.jpg" height="161" width="320" /></a><span style="font-family: "Times New Roman";">Virtually every
other aspect of the movie, though, is great. Chris Pratt’s winning performance as
Peter Quill, aka Star-Lord, buoys the movie, and the other performances aren’t
half-bad either. Zoe Saldana gives her best to-date, and WWE-fixture Dave
Bautista delivers his metaphor-less lines decently, though not fabulously.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Outside of
Pratt, though, the voicework of Bradley Cooper and Vin Diesel is really the
standout of the movie’s main cast. Cooper makes Rocket’s every line sparkle,
and Vin Diesel exudes every emotion Groot needs with just his three words.
Diesel’s devastation over the untimely death of Paul Walker is apparent
throughout his heartfelt voicework, and it helps tremendously.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-jNeMMCEb9-c/U96bCt4f3eI/AAAAAAAAA_g/Ct-edXz41ew/s1600/Guardians+of+the+Galaxy4.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-jNeMMCEb9-c/U96bCt4f3eI/AAAAAAAAA_g/Ct-edXz41ew/s1600/Guardians+of+the+Galaxy4.JPG" height="225" width="320" /></a><span style="font-family: "Times New Roman";">Even the
supporting cast, though often underused (especially Glenn Close and John C.
Reilly), is rather good. I don’t know why it took so long, but Lee Pace has
finally given a good villainous portrayal. It is by no means a deep,
multi-faceted portrayal, but at least he seems invested enough in the part to
make sure his lines don’t get stuck to his tongue like they did in the second
Hobbit movie. Michael Rooker, best known as the eponymous <i style="mso-bidi-font-style: normal;">Henry: Portrait of a Serial Killer</i> and a Merle in <i style="mso-bidi-font-style: normal;">The Walking Dead</i>, really carries the
supporting cast as Yondu Udonta, the closest thing Quill has to a father. He
gives Yondu the depth he needs to make him more than just a jealous thief.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Judging from the
comedic success of films this year, it seems the key to getting people to laugh
is to make fun of life in general. This is the third movie I’ve watched this
year that has succeeded in making me laugh not because it had funny gags, but
because it made fun of itself. Meta-humor is engineering a rise, and I, for
one, am not complaining. No, the jokes aren’t all perfect, but every member of
the cast believes they are doing something new and interesting and important,
which makes even the jokes that would otherwise fall flat instead make you
smile.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-mHhfFilUpkw/U96bCGWL5zI/AAAAAAAAA_c/-zFcTnHrKd4/s1600/Guardians+of+the+Galaxy3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-mHhfFilUpkw/U96bCGWL5zI/AAAAAAAAA_c/-zFcTnHrKd4/s1600/Guardians+of+the+Galaxy3.jpg" height="161" width="320" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">The special
effects are gorgeous, and the 3D, though not really utilized all that much, is
not distracting, which is not something most 3D movies can boast.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">Overall,
Guardians of the Galaxy deserves every cent it makes. It’s strange to think
that the superhero movie subgroup could be brought back down to earth by Peter
Quill’s ever-temperamental rocket-boots. Though certainly not perfect,
Guardians of the Galaxy beats much of the schlock we tend to get this time of
year, and it offers a rather interesting deconstruction of the superhero genre.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: "Times New Roman";">80<o:p></o:p></span></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-26614490894944572542014-07-22T12:18:00.000-07:002015-01-05T14:25:05.992-08:00Boyhood<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-FVb1b_nYZnE/U864Q8uVo0I/AAAAAAAAA-0/fFa_GIFNs5o/s1600/Boyhood.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-FVb1b_nYZnE/U864Q8uVo0I/AAAAAAAAA-0/fFa_GIFNs5o/s1600/Boyhood.jpg" height="320" width="226" /></a>What is a movie supposed to do if not relate somehow to the
everyday and to make you laugh and think and reflect and hurt? Well, Richard
Linklater seems to think these goals, which a relatively small number of movies
ever successfully attain, are not enough. For him, a movie must challenge the
very fabric of what a movie is. Boyhood is such a movie. Better yet, it’s such
an achievement.<o:p></o:p></div>
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The narrative structure is, of course, what makes the movie
so experimental. It is, after all, nonexistent, and yet, despite the problems
it creates, like giving the film no tangible motivation supporting each
chronological step forward, it flows better than almost any movie could ever
hope to, and, above all, it forces the viewer to reflect.<o:p></o:p></div>
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<br /></div>
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<a href="http://1.bp.blogspot.com/-ZGC_QsxEupw/U864Err5PaI/AAAAAAAAA-Y/qecuBcfJZzc/s1600/Boyhood3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ZGC_QsxEupw/U864Err5PaI/AAAAAAAAA-Y/qecuBcfJZzc/s1600/Boyhood3.jpg" height="179" width="320" /></a>Boyhood is like life. You go through life with all its pains
and joys and monotony, and you come out the other end, not with the complete
picture but with memories. The strange thing about memories is their
unpredictability. What we remember is not always the most notable moments, though
it often is. We are certainly going to remember getting “The Talk” from our dad
in the bowling alley, but we may also remember, just as vividly, one of the
nights we came home much too late to the accusatory figure and voice and words
of our drunken stepfather, a scene that occurred a multitude of times, but that
we, for one reason or another, remember this specific instance, though not
because of any noticeable difference.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-QcbNG0NzHq0/U864FsRvEoI/AAAAAAAAA-g/5rLjpUKm8uQ/s1600/Boyhood4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-QcbNG0NzHq0/U864FsRvEoI/AAAAAAAAA-g/5rLjpUKm8uQ/s1600/Boyhood4.jpg" height="188" width="320" /></a>Linklater’s work, as I’ve said, makes us think and reflect
and even goes so far so as to challenge what a movie is, but it also makes you
laugh, and it makes you hurt. His direction and writing are utterly brilliant,
bringing a lifelike intensity to each and every scene. This intensity is not
just dramatic, but comedic as well, for what is life if not simultaneously a
melodrama and a slapstick comedy all rolled up into one. His vision, the film’s
massive scope, is one of the most complete ever, and Sandra Adair’s magnificent
editing, no doubt aided by Linklater’s watchful eye, ties it all together with
ease, creating a movie so free-flowing and fast-paced I never once looked at my
watch during its 166 minute runtime.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-bBNK_h5Y24M/U864GTbz1nI/AAAAAAAAA-s/JlaBqdXf5es/s1600/Boyhood1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-bBNK_h5Y24M/U864GTbz1nI/AAAAAAAAA-s/JlaBqdXf5es/s1600/Boyhood1.jpg" height="179" width="320" /></a></div>
<div class="MsoNormal">
It’s so hard to talk about acting in a movie like this.
Actors and actresses change in both ability and knowledge as they get older.
Thus, making a statement about some of the acting is rather difficult. Ellar
Coltrane, as the lead, is slightly above average, I’d say. He’s rather good
early on, and his later line deliveries are appropriately impassioned, but his
role, not matter his age, is just too limited. Sure, he transforms, but it’s a
natural progression from being 6 to being 18. His sister, portrayed by
director’s daughter Lorelei Linklater, plays it too cute at the beginning, but
matures into, I’d argue, the better actor of the two, though her part is too
limited for her to make much of an impact. Patricia Arquette, too, is hampered
by a limited role. She is never subpar and always exudes a fabulous sense of
motherliness, but she’s too limited. The real star of the show is Ethan Hawke,
who steals his every scene. Like his son, he transforms but as an adult, not in
his transformative years, and his performance is really both entertaining and
thought-provoking.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Boyhood is really all about Linklater and his vision, and oh
what a vision it is! It’s a movie that challenges us to reflect on our own
lives and that hopes we discover our lives are not about us. Instead our lives
are about everyone around us, how they formed us, how they shaped us.<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-_vY34X7UjeQ/U864Dr0_qbI/AAAAAAAAA-U/Lu5wweKFCQ4/s1600/Boyhood2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><o:p> </o:p></div>
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86<br />
<br />
I've changed my rating from a 94 because the often atrocious supporting acting has stuck with me more than most of the other things about it. Also, Mason is just boring as hell.</div>
<o:p></o:p>Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-89857037789505767992014-06-29T18:51:00.002-07:002015-01-05T14:24:24.810-08:0022 Jump Street<div class="MsoNormal">
This will be very short and not very well-written. I’m not
having the greatest of times finding motivation to write reviews on non-Oscar
contenders, so I’ve compromised by mainly just putting down raw thoughts with a
little embellishment rather than going too much into the nitty-gritty like I normally
do.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-bNjVumttXo8/U7DCRkyJvdI/AAAAAAAAA9s/2ZkGmP4mYpY/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-bNjVumttXo8/U7DCRkyJvdI/AAAAAAAAA9s/2ZkGmP4mYpY/s1600/Poster.jpg" height="320" width="215" /></a>Is it as funny as the first? That’s the question that seems
to be on everyone’s minds. Many reviewers thought it was, while I feel many I’ve
talked to say it’s a close call, but that the original may still be funnier. I
honestly don’t know. But it really doesn’t matter because 22 Jump Street is a
fabulously entertaining, incredibly hysterical movie that, like its
predecessor, breaks the mold of off-the-wall comedies and comes out the other
side all the better for it.<o:p></o:p></div>
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Nowadays it seems every comedy is either a bad rom-com (why
they’re bad will be left for an entirely different discussion) or a movie with
ridiculous people doing ridiculous things. There’s a lack of decent gags (where
have sequences like Michael Palin and the dogs gone?) and a plethora of terrible
jokes and antics that are annoying rather than funny.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That’s where 22 Jump Street comes in. Sure, it’s silly and
outrageous, but it’s not wholly defined by those characteristics. This is
especially true of Schmidt and Jenko, the protagonists. They’re really average
guys who do extraordinarily ridiculous things in specific situations. But that
ridiculous thing is never the redundant. Their normality is also important.
Most of the time, they’re like people you know. Their relationships with others
are startlingly normal, even if they’re done in an over-the-top fashion. So
when they do really stupid stuff it makes it that much funnier.<o:p></o:p></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-MDdkIrllDsA/U7DCQ6yDcDI/AAAAAAAAA9k/SrtAdindeOU/s1600/22+Jump+Street2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-MDdkIrllDsA/U7DCQ6yDcDI/AAAAAAAAA9k/SrtAdindeOU/s1600/22+Jump+Street2.jpg" height="176" width="320" /></a><o:p> </o:p></div>
<div class="MsoNormal">
As many have said, the movie works because it’s so
self-referential. Aside from the perfect use of references to sequel-quality,
the meta nods to genre clichés (the 1<sup>st</sup> did this excellently well),
to various movies, and to the personalities involved in the movie are all
terrific.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To delve a little into some specifics, the screenplay is
spot-on and could end up as one of my year’s top five adapted screenplays, just
as the original’s did. Once again, Jonah Hill and Channing Tatum are gut-bustingly
funny. While most thought Tatum stood out in the original, I was more impressed
with how great Hill was as more of the straight man. This time around, though,
Tatum really is the MVP. He runs the show from beginning to end and headlines what
I probably think is the movie’s funniest scene. But he couldn’t have done it
alone. He probably couldn’t have even done it with anybody other than Hill;
their chemistry is just that good, which leads to my next point.</div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-QZdrmYvtKEA/U7DCQ5okHzI/AAAAAAAAA9g/v0VEvR8e-8U/s1600/22+Jump+Street3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-QZdrmYvtKEA/U7DCQ5okHzI/AAAAAAAAA9g/v0VEvR8e-8U/s1600/22+Jump+Street3.jpg" height="198" width="320" /></a>Hill should
really think about playing the straight man in more comedies. I know I’m in the
minority as I find him only reasonably funny when he’s being ridiculous, but I
think he really has a tremendous talent for knowing how to make the most out of
a straighter part (not a completely straight one, though). Also, Ice Cube is
not a good actor. He has just one setting and that’s loud, but he’s used to
perfection here. His early scenes were a little too over-the-top for my taste,
but his later scenes and reactions are some of the funniest in the movie.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-53jvLZ6sOco/U7DCRca_EFI/AAAAAAAAA9o/flHtCVsd2n8/s1600/22+Jump+Street4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-53jvLZ6sOco/U7DCRca_EFI/AAAAAAAAA9o/flHtCVsd2n8/s1600/22+Jump+Street4.jpg" height="99" width="320" /></a>After ruminating a little, I think I’ll say the 1<sup>st</sup>
installment is slightly funnier. The gags may be equally funny on the surface,
but I think the original’s work on a purer level. You laugh because they really
and truly were funny, whereas the gags in the 2<sup>nd</sup> require the
self-reference to achieve the same level of laugh inducement. Some of the
originality is gone. That the gags and jokes are still pretty much equally as
funny on the whole is really a testament to Hill and Tatum and to directors
Phil Lord and Christopher Miller as they easily could have presented the movie’s
meta aspects poorly. All that being said, 22 is arguably a better overall movie
than its predecessor. It has the laughs, but it also brings the heart. Its
actual dramatic scenes flow naturally from the previous absurd scenes and are
well-done. Schmidt and Jenko’s “break-up” scenes particularly stand out, being
both heartfelt and hysterical.<o:p></o:p></div>
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<div class="MsoNormal">
I hope there’s a sequel and I hope there isn’t. The movie
gets so much out of making fun of sequels that a less funny third one could
ruin everything good that’s happened. That being said, a 3<sup>rd</sup> one that knows how to be dumb could be great, and I thoroughly hope we get the chance to enjoy it.<o:p></o:p></div>
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84/100</div>
<o:p></o:p>Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-3759546510945714942014-06-02T15:19:00.002-07:002015-01-05T14:24:12.485-08:00X-Men: Days of Future Past<div class="MsoNormal">
I’m going to make this short because you and I both have
things to do.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-5F9u3BoQeE4/U4z2mJY6h0I/AAAAAAAAAwY/h0-MPMZfAfE/s1600/Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-5F9u3BoQeE4/U4z2mJY6h0I/AAAAAAAAAwY/h0-MPMZfAfE/s1600/Poster.jpg" height="320" width="216" /></a>Every once in a while, you find a diamond in the rough, a
needle in a haystack, if you will. For the unfortunately burgeoning superhero
genre, that diamond, or rather those diamonds, in the rough, are Bryan Singer’s
X-Men movies. In the original trilogy (or tetralogy) of X-Men, X2 (United), and
The Last Stand (Origins being that questionably included fourth installation),
Singer directed the two best: the first and second. Last Stand and Origins are
both enjoyable and entertaining enough, but neither attempts to be anything but
an action movie, whereas Singer’s tended to include interesting, thoughtful commentaries in addition to being remarkably entertaining action flicks.<o:p></o:p></div>
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<br /></div>
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Thankfully, Singer has retaken the chair and has rattled off
arguably the two most accomplished superhero movies ever not made by Christopher
Nolan. Though it has its detractors, First Class is, in my opinion, a terrific
movie that succeeds both as a pure action flick but also as a thoughtful
commentary on intolerance, and not just that of the oppressors. In X-Men: Days
of Future Past, Singer picks up exactly where he left off, delivering a great movie,
though not one I can wholeheartedly say lives up to its immediate predecessor
(The Wolverine is dumb and doesn’t count).<o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-JLYpkAL9jhA/U4z2nKajFlI/AAAAAAAAAwk/SbdMHK2jvtU/s1600/Days+of+Future+Past2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-JLYpkAL9jhA/U4z2nKajFlI/AAAAAAAAAwk/SbdMHK2jvtU/s1600/Days+of+Future+Past2.jpg" height="212" width="320" /></a></div>
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Beginning about 10-15 years in the future, the film quickly
shifts into the 1970s and handles it perfectly. Wolverine (you know who) must
find the younger versions of Professor X and Magneto (McAvoy and Fassbender) in
order to prevent the human-mutant war that necessitated his time-travelling expedition to 50 years in the past.<o:p></o:p></div>
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<br /></div>
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The movie’s first scene in the ‘70s is hysterical, and its
handling of the ins-and-outs of everything, from the clothing to the cars, is
spot-on. The writing helps too, and milks as much humor from its premise as
possible without overdoing it. But the script also tosses aside characters too
nonchalantly. The really fast guy utilized at the beginning is soon forgot
about when his powers almost certainly could have come in handy later on.
McAvoy and Fassbender are also sidelined too much to Jackman. Dinklage’s part
is also a great example of how to make a villain unthreatening, uncomplicated, and boring, three insults to the man’s significant acting abilities.<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-VbhB_WYS3js/U4z32DbSqwI/AAAAAAAAAxE/WRXBYmxoTBk/s1600/Days+of+Future+Past5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-VbhB_WYS3js/U4z32DbSqwI/AAAAAAAAAxE/WRXBYmxoTBk/s1600/Days+of+Future+Past5.jpg" height="133" width="320" /></a></div>
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Singer’s direction is fluid and frenetic and, dare I say, terrific,
strange considering the scatter-shot nature of several of his directorial
flourishes (i.e. the Pentagon kitchen scene, the Prof. Xs’ conversation, etc.).
But it’s by no means perfect. Too many of the action sequences are choreographed
and directed (and possibly even written) so as to become too far-fetched. Most
of these actions are results of the mutants’ powers, but if an event is such
that I have to think too hard about how on earth it could have happened before I
chalk it up to a superpower, then there’s a very good chance the powers have
been overutilized. After the original plan goes up in flames, too many of the plot developments require too much suspension of disbelief as well. It almost seems as though the writers said, "It would be cool if this happened to screw everything up. Damn, how the heck are we going to get out of this jam? How about a semi-ridiculous plot twist?" When things like these happen, the movie’s realism, which its non-superhero, allegorical
elements have in spades, is undermined.<br />
<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-3wyuwml6zGc/U4z4TTexMQI/AAAAAAAAAxU/8dkyZvak6jM/s1600/Days+of+Future+Past7.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://2.bp.blogspot.com/-3wyuwml6zGc/U4z4TTexMQI/AAAAAAAAAxU/8dkyZvak6jM/s1600/Days+of+Future+Past7.jpg" height="180" width="320" /></a>In comparison to every single other X-Men film ever made,
this one’s acting is bar-none the best of the bunch. As the young Professor
Charles Xavier (Professor X), James McAvoy gives easily the greatest X-Men
performance ever and arguably the greatest ever leading performance in a superhero
movie. His borderline-leading-supporting performance is powerful and fun and
captivating and emotionally fulfilling. Michael Fassbender, as Erik Lensherr
(Magneto), is given much less to do than in First Class, but still manages to
create an interesting, believable character throughout, even though the limited
screentime I just noted does make his critical character transition too rushed.</div>
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<a href="http://3.bp.blogspot.com/-BAHY80A0q6s/U4z31kntEGI/AAAAAAAAAxA/vWaTdPHgM8w/s1600/Days+of+Future+Past6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-BAHY80A0q6s/U4z31kntEGI/AAAAAAAAAxA/vWaTdPHgM8w/s1600/Days+of+Future+Past6.jpg" height="133" width="320" /></a></div>
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Patrick Stewart gives his best performance of the series. His screentime,
though, is just too little to make that much of an impact. Nevertheless his dream-based speech
scene is one of my favorite scenes in the movie. The truest lead, Hugh Jackman,
does a characteristically great job of being a solid, watchable lead, and his
one-liner deliveries are all, without exception, hysterical and brilliant, but he
never overcomes the unfortunate one-dimensionality the script prescribes for
him.</div>
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<a href="http://4.bp.blogspot.com/-CmlMHnQEH68/U4z2n5E0aLI/AAAAAAAAAww/hiUt-vWwWt0/s1600/Days+of+Future+Past3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-CmlMHnQEH68/U4z2n5E0aLI/AAAAAAAAAww/hiUt-vWwWt0/s1600/Days+of+Future+Past3.jpg" height="203" width="320" /></a></div>
<div class="MsoNormal">
Lastly, Peter Dinklage, who could make an excellent villain, is shunned by
the script in terms of both nuance and menace. Usually when a villain is
robbed of nuance, he’s only evil. But the script decides to scrap it all and provide
Dinklage with some of the most unmenacing scenes and dialogue I can remember.
Part of the issue, I believe, is Dinklage himself. He fails to create the sense
of fearful hate the man needs. He also lacks the domineering physical presence
his character needs. (Watch season two of Game of Thrones to see what I’m
referring to. Just because you’re a dwarf doesn’t mean you can’t have a
domineering physical presence.)<o:p></o:p></div>
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The action scenes are virtually all excellently done, and I
firmly believe it should receive a visual effects Oscar nomination. But as has
been previously mentioned, several of the scenes are too ridiculous for a
moment or two.<o:p></o:p></div>
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<a href="http://4.bp.blogspot.com/-Re-30GdrrvI/U4z2mvqoNcI/AAAAAAAAAwc/ZdqXVjJw2Ss/s1600/Days+of+Future+Past1.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-Re-30GdrrvI/U4z2mvqoNcI/AAAAAAAAAwc/ZdqXVjJw2Ss/s1600/Days+of+Future+Past1.png" height="168" width="320" /></a></div>
<div class="MsoNormal">
I return to one of the film’s greatest strength, its ability
to thoughtfully explore fear of the unknown. Singer’s first to X-Men films and
First Class as well delved deeply into humanity’s fear of what it doesn’t know,
of the pain we inflict on others when we don’t yet know what they are capable
of because we are so scared they might destroy us first. It also takes a brief
look at a question altogether unaddressed by contemporary reviews: nature vs.
nurture. Lensherr is believes only a violent solution is possible because of
the unimaginable cruelty inflicted upon him in his youth, while Xavier’s more
pleasant upbringing made him a more caring person. This fourth Singer movie is
no different. Its commentary on intolerance is smart and nuanced. Perhaps more
importantly, it’s not heavy-handed.<o:p></o:p></div>
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By no means superhuman, the movie is still another fine
example of the wonders Singer can do with superheroes.<o:p></o:p></div>
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<div class="MsoNormal">
82/100</div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com1tag:blogger.com,1999:blog-4748974671055642707.post-80218960038233656332014-04-16T15:21:00.001-07:002014-04-16T15:21:23.602-07:00Oscar Predictions 2014: April<div style="margin-bottom: .0001pt; margin: 0in;">
It has now been over two months
since my last post, and I unfortunately am still viewless. That's right, I have
yet to see a theatrical release this year. Unlike past years, fortunately, this
is not for lack of material. I want to see the following films, most of them
because they're supposed to be good (the exception(s) are obvious):<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
The Grand Budapest Hotel - Wes
Anderson is one of my favorite directors/writers around. End of story. Wait,
Ralph Fiennes.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Noah - The controversy can die a
quick death as far as I'm concerned. In the midst of all the religious schlock
(and I'm a practicing Christian) released every year around the time (Easter),
a Biblical film made for entertainment, something that arguably hasn't been
done since the 1950s has just been released with CGI, bearded Russell Crowe,
Emma Watson, and a probably underused Ray Winstone (also not 217 minutes long)
, and I'll drown before I skip it.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
The Lego Movie - I thought it was
going to be seen as child-only material, but it surprised (not just me, I don't
think), and I now I really want to see it.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Only Lovers Left Alive - Jim
Jarmusch, Tom Hiddleston, Tilda Swinton, AND JOHN HURT!!! What's there to deter
me?<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Muppets Most Wanted - I'm sure it
won't be as good as the initial reboot, but it doesn't need to be to entertain
me (especially with Tina Fey in the cast).<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
300: Rise of an Empire - Eva Green<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Enemy - Given Jake Gyllenhaal's
powerhouse performance in Prisoners, I'm incredibly excited to see if he can
continue putting out top-notch work.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Under the Skin – I like science
fiction and appreciate Scarlett Johansson’s acting abilities slighty (ONLY
SLIGHTLY) more than most, so when she’s praised more highly than ever before
I’m in. Also, I’m a fan of well-made sci-fi, and this looks to fit that bill.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Jodorowsky's Dune - The trailer
looked fascinating. I can also get angry it never was (nor will it ever be)
made.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
To a lesser extent, I also want to
see:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Oculus - I don't like horror
because I think the scare methods are clichéd and dumb nowadays, but this one,
at least according to early reviews sounds different.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Draft Day - I'll admit it, I want
to see it, unless it gets poor reviews, of course.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
The Railway Man - It's probably be
schmaltzy and pastiche, but I have to cover all of my bases. This is just the
sort of film the Oscars like going for. The issue is, of course, it came out
6-8 months too early.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Joe - Nicolas Cage's beard looks
horribly fake, at least in production stills, but Tye Sheridan gave the best
child performance I've ever seen in Mud last year, and I can't wait to see what
he does next. This is down here instead of above because I fear it will be too
similar, and therefore inferior, to Mud.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Captain America: The Winter Soldier
- I haven't seen an entire Marvel movie since Iron Man (I've only seen parts of
Iron Man 2), but the buzz this is receiving beyond just the usual good visual effects
stuff is enticing.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Now on to the main point of this
article, Oscar predictions, 10 months out. I’m not going to touch on the
non-major categories, except to say that I hope Roger Deakins finally wins for
Unbroken, regardless of how good his work actually ends up being in it.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
The vast majority, if not all, of
my contenders are taken from the contenders listed by Clayton Davis at [link to
<a href="http://www.awardscircuit.com/oscar-predictions/">http://www.awardscircuit.com/oscar-predictions/</a><a href="http://www.awardscircuit.com/oscar-predictions/2014-oscar-predictions-best-motion-picture/"></a>
as Awards Circuit] (I just don’t have time to do it any other way), but where I
place the films will be different<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Picture:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Big Eyes—Tim Burton<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="ES">2.<span style="font-size: 7pt;"> </span></span><!--[endif]--><span dir="LTR"></span><span lang="ES">Birdman—Alejandro
González Iñárritu<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="ES">3.<span style="font-size: 7pt;"> </span></span><!--[endif]--><span dir="LTR"></span><span lang="ES">Foxcatcher—Bennett
Miller<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="ES">4.<span style="font-size: 7pt;"> </span></span><!--[endif]--><span dir="LTR"></span><span lang="ES">Fury—David Ayer<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gone Girl—David Fincher<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inherent Vice—Paul Thomas Anderson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Interstellar—Christopher Nolan<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Judge—David Dobkin<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Trash—Stephen Daldry<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Unbroken—Angelina Jolie<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Boyhood—Richard Linklater<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Disappearance of Eleanor Rigby—Ned
Benson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Exodus—Ridley Scott<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Giver—Phillip Noyce<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Grand Budapest Hotel—Wes Anderson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Homesman—Tommy Lee Jones<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Into the Woods—Rob Marshall<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jersey Boys—Clint Eastwood<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kill the Messenger—Michael Cuesta<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l6 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Suite française—Saul Dibb<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Director:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Paul Thomas Anderson—Inherent Vice<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Tim Burton—Big Eyes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David Fincher—Gone Girl<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Bennett Miller—Foxcatcher<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Christopher Nolan—Interstellar<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David Ayer—Fury<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Stephen Daldry—Trash<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Alejandro González Iñárritu—Birdman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rob Marshall—Into the Woods<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ridley Scott—Exodus<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Wes Anderson—The Grand Budapest
Hotel<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ned Benson—The Disappearance of
Eleanor Rigby<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>J.C. Chandor—A Most Violent Year<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David Cronenberg—Map to the Stars<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Cuesta—Kill the Messenger<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Saul Dibb—Suite française<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David Dobkin—The Judge<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Angelina Jolie—Unbroken<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Richard Linklater—Boyhood<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l4 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Terrence Malick—Knight of Cups<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Actor:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Keaton—Birdman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Joaquin Phoenix—Inherent Vice<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Brad Pitt-Fury<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Robert Downey, Jr.—The Judge<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Robin Williams—The Angriest Man in
Brooklyn<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Steve Carell—Foxcatcher<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Brendan Gleeson—Calvary<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Philip Seymour Hoffman—A Most
Wanted Man<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>James McAvoy—The Disappearance of Eleanor
Rigby<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Timothy Spall—Mr. Turner<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ben Affleck—Steve Carell<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chadwick Boseman—Get on Up<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Benedict Cumberbatch—The Imitation
Game<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ralph Fiennes—The Grand Budapest
Hotel<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Tom Hardy—The Drop<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Matthew McConaughey—Interstellar<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Viggo Mortensen—The Two Faces of
January<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Shannon—99 Homes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Timothy Spall—Mr. Turner<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l5 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Christoph Waltz—Big Eyes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Many places have Michael Fassbender
in Macbeth, but IMDB has that listed as a likely 2015 release, so I have not
listed it. If Terry Gilliam’s The Zero Theorem ever gets a US release,
Christoph Waltz may get in the Another 10 section.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Actress:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Amy Adams—Big Eyes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jessica Chastain—The Disappearance
of Eleanor Rigby<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jennifer Lawrence—Serena<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Scarlett Johansson—Under the Skin<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jennifer Garner—Men, Women, &
Children<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Emily Blunt—Into the Woods<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Christina Hendricks—How to Catch a
Monster<o:p></o:p></div>
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<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Julianne Moore—Map to the Stars<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rosamund Pike—Gone Girl<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Hilary Swank—The Homesman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Cate Blanchett—Carol<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jessica Chastain—Miss Julie<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Marion Cotillard—The Immigrant<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kirsten Dunst—The Two Faces of
January<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nicole Kidman—The Railway Man<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Carey Mulligan—Far from the Madding
Crowd<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Natalie Portman—Jane Got a Gun<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Charlize Theron—Dark Places<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mia Wasikowska—Madame Bovary<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l7 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Reese Witherspoon—Wild<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Like Fassbender, I left out
Cotillard in Macbeth (who would’ve made it into my First 5) because of my
uncertainty about the release date.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Supporting Actor:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Steve Buscemi—The Cobbler<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Robert Duvall—The Judge<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Oscar Isaac—Mojave<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ray Liotta—Kill the Messenger<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Edward Norton—Birdman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Josh Brolin—Inherent Vice<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Albert Brooks—A Most Violent Year<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Johnny Depp—Into the Woods<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chris O’Dowd—Calvary<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mark Ruffalo—Foxcatcher<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>James Gandolfini—The Drop<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Andrew Garfield—99 Homes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>John Goodman—The Gambler<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chris Messina—Manglehorn<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Scoot McNairy—Black Sea<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gary Oldman—Child 44<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Joaquin Phoenix—The Immigrant<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mark Ruffalo—Can a Song Save Your
Life?<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>James Spader—The Homesman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l2 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Stanley Tucci—A Little Chaos<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Best Supporting Actress:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Judy Greer—Men, Women, &
Children<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Anna Kendrick—Into the Woods<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Samantha Morton—Miss Julie<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Meryl Streep—Into the Woods<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Naomi Watts—Birdman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Patricia Arquette—Boyhood<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Holly Hunter—Manglehorn<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jena Malone—Inherent Vice<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Noomi Rapace—Child 44<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kristin Scott Thomas—Suite française<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Viola Davis—Get on Up<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rosemarie DeWitt-Kill the Messenger<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Vera Farmiga—The Judge<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Brie Larson—The Gambler<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Lesley Manville—Mr. Turner<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Elisabeth Moss—Listen Up Phillip<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Miranda Otto—The Homesman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Lily Rabe—Pawn Sacrifice<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kelly Reilly—Calvary<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l3 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Krysten Ritter—Big Eyes<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Julianne Moore could just as easily
(probably more easily) be nominated here as in Lead.<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Adapted Screenplay:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gone Girl—Gillian Flynn<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inherent Vice—Paul Thomas Anderson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Trash—Richard Curtis<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Unbroken—Joel and Ethan Coen, William
Nicholson, and Richard LaGravenese<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Foxcatcher—E. Max Frye and Dan
Futterman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Grand Budapest Hotel—Wes Anderson
and Hugo Guiness<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Homesman—Kieran Fitzgerald,
Tommy Lee Jones, Wesley Oliver, and Miles Hood Swarthout<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kill the Messenger—Peter Landesman<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Suite française—Matt Charman and
Saul Dibb<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Wild—Nick Hornby<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Child 44—Richard Pryce<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Dark Places—Gilles Paquet-Brenner<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Drop—Dennis Lehane<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Exodus—Bill Collage, Adam Cooper,
and Steven Zaillian<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Far from the Madding Crowd—Thomas Hardy
and David Nicholls<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Into the Woods—James Lapine<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Men, Women, & Children—James Reitman
and Erin Cressida Wilson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Miss Julie—Liv Ullmann<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Serena—Christopher Kyle<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l1 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Two Faces of January—Hossein Amini<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Original Screenplay:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
First 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Big Eyes—Scott Alexander and Larry
Karazewski<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="ES">2.<span style="font-size: 7pt;"> </span></span><!--[endif]--><span dir="LTR"></span><span lang="ES">Birdman—Alejandro
González Iñárritu, Nicolas Giacobone, Alexander Dinelaris, and Armando Bo<o:p></o:p></span></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Boyhood—Richard Linklater<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Fury—David Ayer<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mr. Turner—Mike Leigh<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Next 5:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Interstellar—Christopher Nolan and
Jonathan Nolan<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Judge—Bill Dubuque, Nick
Schenk, and David Seidler<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Magic in the Moonlight—Woody Allen<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mojave—William Monahan<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>A Most Violent Year—J.C. Chandor<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
Another 10:<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Cobbler—Thomas McCarthy and
Paul Sado<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Disappearance of Eleanor Rigby—Ned
Benson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Good Lie—Margaret Nagle<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>How to Catch a Monster—Ryan Gosling<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Immigrant—James Gray and Ric
Menello<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jupiter Ascending—Andy Wachowski
and Lana Wachowski<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Maps to the Stars—Bruce Wagner<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Pawn Sacrifice—Steven Knight,
Stephen J. Rivele, and Christopher Wilkinson<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Rover—Joel Edgerton and David
Michôd<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; mso-list: l0 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Whiplash—Damien Chazzelle<o:p></o:p></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
As you can see, despite wanting to
see the films I discussed at the beginning, I think they have zero chance of
getting on the list early one morning next February.<o:p></o:p></div>
<br />
<div style="margin-bottom: .0001pt; margin: 0in;">
<br /></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-36760111918816361442014-03-06T22:20:00.000-08:002014-03-06T22:22:39.699-08:00Oscar RecapI should have done this on Monday, but I'm doing it now because laziness is too tempting sometimes.<br />
<br />
Anyway, I got 22/24. The decisions were incredibly easy to predict this year, and that was a good thing this year because the vast majority (off the top of my head all of the decisions I can have opinions on) went to deserving recipients (mostly Gravity).<br />
<br />
I missed Documentary Feature, which I figured would go to The Act of Killing, which had most of the critics awards and stuff, but instead it went to 20 Feet from Stardom about showbusiness, so obviously showbusiness people voted for it. It's evidently feel-good, etc. I will NEVER see the latter, but I'm planning on watching the former in a week or two.<br />
<br />
The only other category I missed was Live Action Short, which I assumed would go to the 12 minute film The Voorman Problem, which I saw shortly after the ceremony. I figured people would just vote for Martin Freeman, Tom Hollander, and the English language (over Spanish, French, Finnish, and Danish), but they went for dying children (the Danish) instead of "god" prisoners.<br />
<br />
Also, I thought Ellen was terrific. She was quite funny, and I will never complain about a host being funny and not being controversial.Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-62424676508334465682014-03-01T22:42:00.002-08:002014-03-02T17:34:32.044-08:00Oscar PredictionsThe Oscars are just around the corner, as in tonight, so here are my predictions, without category run-downs or explanations.<br />
<br />
Best Picture:<br />
Nominees:<br />
<br />
<ol>
<li>American Hustle</li>
<li>Captain Phillips</li>
<li>Dallas Buyers Club</li>
<li>Gravity</li>
<li>Her</li>
<li>Nebraska</li>
<li>Philomena</li>
<li>12 Years a Slave</li>
<li>The Wolf of Wall Street</li>
</ol>
<div>
Will Win: 12 Years a Slave</div>
<div>
Spoiler: Gravity</div>
<div>
Spoiler 2: American Hustle</div>
<div>
Dark Horse: The Wolf of Wall Street</div>
<div>
Should Win: 12 Years a Slave</div>
<div>
Hopefully Will NOT Win If Justice Exists: American Hustle</div>
<div>
<br /></div>
<div>
Best Director:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Alfonso Cuarón for Gravity</li>
<li>Steve McQueen for 12 Years a Slave</li>
<li>Alexander Payne for Nebraska</li>
<li>Martin Scorsese for The Wolf of Wall Street</li>
<li>David O. Russell for American Hustle</li>
</ol>
<div>
Will Win: Alfonso Cuarón</div>
</div>
<div>
Spoiler: Steve McQueen</div>
<div>
Dark Horse: Martin Scorsese</div>
<div>
Should Win: Alfonso Cuarón</div>
<div>
<br /></div>
<div>
Best Actor:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Christian Bale in American Hustle</li>
<li>Bruce Dern in Nebraska</li>
<li>Leonardo DiCaprio in The Wolf of Wall Street</li>
<li>Chiwetel Ejiofor in 12 Years a Slave</li>
<li>Matthew McConaughey in Dallas Buyers Club</li>
</ol>
<div>
Will Win: Matthew McConaughey</div>
</div>
<div>
Spoiler: Leonardo DiCaprio</div>
<div>
Dark Horse: Chiwetel Ejiofor</div>
<div>
Should Win: Matthew McConaughey</div>
<div>
One the "Will Win" matters because McConaughey has had this in the bag since the movie hit the screen.</div>
<div>
<br /></div>
<div>
Best Actress:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Amy Adams in American Hustle</li>
<li>Cate Blanchett in Blue Jasmine</li>
<li>Sandra Bullock in Gravity</li>
<li>Judi Dench in Philomena</li>
<li>Meryl Streep in August: Osage County</li>
</ol>
<div>
Will Win: Cate Blanchett</div>
</div>
<div>
Spoiler: Judi Dench (old British people, mainly)</div>
<div>
Dark Horse: Amy Adams</div>
<div>
Should Win: Sandra Bullock (Brie Larson)</div>
<div>
All that said, Blanchett's BAFTA win over Dench all but gives her the Oscar.</div>
<div>
<br /></div>
<div>
Best Supporting Actor:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Barkhad Abdi in Captain Phillips</li>
<li>Bradley Cooper in American Hustle</li>
<li>Michael Fassbender in 12 Years a Slave</li>
<li>Jonah Hill in The Wolf of Wall Street</li>
<li>Jared Leto in Dallas Buyers Club</li>
</ol>
<div>
Will Win: Jared Leto</div>
</div>
<div>
Spoiler: Michael Fassbender</div>
<div>
Dark Horse: Barkhad Abdi (when you win BAFTA, you shouldn't be underestimated)</div>
<div>
Should Win: Michael Fassbender</div>
<div>
Leto's had this one in the bag almost as long as McConaughey.</div>
<div>
<br /></div>
<div>
Best Supporting Actress:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Sally Hawkins in Blue Jasmine</li>
<li>Jennifer Lawrence in American Hustle</li>
<li>Lupita Nyong'o in 12 Years a Slave</li>
<li>Julia Roberts in August: Osage County</li>
<li>June Squibb in Nebraska</li>
</ol>
<div>
Will Win: Lupita Nyong'o</div>
<div>
Spoiler (MAJOR): Jennifer Lawrence (this isn't a Forrest Gump-type Oscar-baity performance (it's Oscar-baity in a different, worse way) and she's not Tracy or Hepburn, but she has almost equivalent awards traction)</div>
<div>
Dark Horse: June Squibb</div>
<div>
Should Win: Lupita Nyong'o (Sarah Paulson in the same movie)</div>
</div>
<div>
<br /></div>
<div>
Best Adapted Screenplay:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Before Midnight</li>
<li>Captain Phillips</li>
<li>Philomena</li>
<li>12 Years a Slave</li>
<li>The Wolf of Wall Street</li>
</ol>
<div>
Will Win: 12 Years a Slave</div>
</div>
<div>
Spoiler: The Wolf of Wall Street</div>
<div>
Dark Horse: Captain Phillips</div>
<div>
Should Win: The Wolf of Wall Street</div>
<div>
<br /></div>
<div>
Best Original Screenplay:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>American Hustle</li>
<li>Blue Jasmine</li>
<li>Dallas Buyers Club</li>
<li>Her</li>
<li>Nebraska</li>
</ol>
<div>
Will Win: Her</div>
</div>
<div>
Spoiler (MAJOR): American Hustle</div>
<div>
Dark Horse: Blue Jasmine (Woody Allen is always a threat)</div>
<div>
Should Win: Her</div>
<div>
American Hustle has more overall traction, but Her seems to have been coming on strong lately.</div>
<div>
<br /></div>
<div>
Best Animated Feature:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>The Croods</li>
<li>Despicable Me 2</li>
<li>Ernest and Celestine</li>
<li>Frozen</li>
<li>The Wind Rises</li>
</ol>
<div>
Will Win: Frozen</div>
</div>
<div>
Spoiler: The Wind Rises (Miyazaki may get a 2nd award for his final project)</div>
<div>
Dark Horse: Despicable Me 2</div>
<div>
Should Win: Frozen (I'll admit to not having seen The Wind Rises, the only legitimate challenger.)</div>
<div>
<br /></div>
<div>
Best Foreign Language Film:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>The Broken Circle Breakdown (from Belgium, in Dutch)</li>
<li>The Great Beauty (from Italy, in Italian)</li>
<li>The Hunt (from Denmark, in Danish)</li>
<li>The Missing Picture (from Cambodia, in French)</li>
<li>Omar (from Palestine, in Arabic)</li>
</ol>
</div>
<div>
Will Win: The Great Beauty</div>
<div>
Spoiler: The Broken Circle Breakdown</div>
<div>
Dark Horse: The Hunt</div>
<div>
<br /></div>
<div>
Best Documentary Feature:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>The Act of Killing</li>
<li>Cutie and the Boxer</li>
<li>Dirty Wars</li>
<li>The Square</li>
<li>20 Feet from Stardom</li>
</ol>
<div>
Will Win: The Act of Killing</div>
</div>
<div>
Spoiler: 20 Feet from Stardom</div>
<div>
Dark Horse: The Square</div>
<div>
Dark Horse 2: Dirty Wars</div>
<div>
<br /></div>
<div>
Best Production Design:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>American Hustle</li>
<li>Gravity</li>
<li>The Great Gatsby</li>
<li>Her</li>
<li>12 Years a Slave</li>
</ol>
<div>
Will Win: The Great Gatsby</div>
</div>
<div>
Spoiler: Gravity</div>
<div>
Dark Horse: 12 Years a Slave</div>
<div>
Should Win: Her (The Hobbit: The Desolation of Smaug)</div>
<div>
<br /></div>
<div>
Best Cinematography:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>The Grandmaster (Philippe Le Sourd)</li>
<li>Gravity (Emmanuel Lubezki)</li>
<li>Inside Llewyn Davis (Bruno Delbonnel)</li>
<li>Nebraska (Phedon Papamichael)</li>
<li>Prisoners (Roger Deakins)</li>
</ol>
<div>
Will Win: Gravity:</div>
<div>
Spoiler: Inside Llewyn Davis</div>
<div>
Dark Horse: Nebraska</div>
<div>
Dark Horse 2: Prisoners</div>
<div>
Should Win: Inside Llewyn Davis (or 12 Years a Slave, I can't decide)</div>
<div>
<br /></div>
<div>
Best Costume Design:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>American Hustle</li>
<li>The Grandmaster</li>
<li>The Great Gatsby</li>
<li>The Invisible Woman</li>
<li>12 Years a Slave</li>
</ol>
<div>
Will Win: The Great Gatsby</div>
</div>
<div>
Spoiler: 12 Years a Slave</div>
<div>
Dark Horse: The Invisible Woman</div>
<div>
Should Win: 12 Years a Slave or The Invisible Woman</div>
<div>
<br /></div>
<div>
Best (Film) Editing:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>American Hustle (Jay Cassidy, Crispin Struthers, and Alan Baumgarten)</li>
<li>Captain Phillips (Christopher Rouse)</li>
<li>Dallas Buyers Club (John Mac McMurphy and Martin pensa)</li>
<li>Gravity (Alfonso Cuarón and Mark Sanger)</li>
<li>12 Years a Slave (Joe Walker)</li>
</ol>
<div>
Will Win: Gravity</div>
</div>
<div>
Spoiler: Captain Phillips</div>
<div>
Dark Horse: 12 Years a Slave</div>
<div>
Should Win: Gravity (or The Wolf of Wall Street, I can't decide)</div>
<div>
<br /></div>
<div>
Best Makeup and Hairstyling:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Dallas Buyers Club</li>
<li>Jackass Presents: Bad Grandpa</li>
<li>The Lone Ranger</li>
</ol>
<div>
Will Win: Dallas Buyers Club (BP nominee has never lost, if I'm not mistaken)</div>
</div>
<div>
Spoiler: Bad Grandpa</div>
<div>
Dark Horse: The Lone Ranger</div>
<div>
Should Win: Dallas Buyers Club</div>
<div>
<br /></div>
<div>
Best Original Score:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>The Book Thief (John Williams)</li>
<li>Gravity (Steven Price)</li>
<li>Her (William Butler and Owen Pallett (essentially Arcade Fire))</li>
<li>Philomena (Alexandre Desplat)</li>
<li>Saving Mr. Banks (Thomas Newman)</li>
</ol>
<div>
Will Win: Gravity</div>
<div>
Spoiler: Her</div>
</div>
<div>
Dark Horse: Saving Mr. Banks</div>
<div>
Should Win: Saving Mr. Banks</div>
<div>
Note: For me, Gravity's score's issue is that it fails to show much beyond some incredibly effective suspense music. The movie doesn't really provide many opportunities for nuanced, lower key (or even simply hopeful) work. Arcade Fire's score for Her is too low key for me, and though it works perfectly with every frame of the film, it's simply not ear-catching. Thomas Newman's for Saving Mr. Banks is basically an agglomeration of his best ideas from past films tailor-made to fit a new one. I think he's the best living film composer, so maybe I'm biased, but this trumps his great work for Skyfall, American Beauty, Finding Nemo, and possibly even WALL-E, though it obviously fails to touch Shawshank Redemption.</div>
<div>
<br /></div>
<div>
Best Original Song:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>"Happy" from Despicable Me 2 (composed, written, and performed by Pharrell Williams)</li>
<li>"Let It Go" from Frozen (composed and written by Kristen Anderson-Lopez and Robert Lopez, performed by Idina Menzel)</li>
<li>"The Moon Song" from Her (composed by Karen Orzolek (Karen O), written by Orzolek and Spike Jonze, and performed by Karen O)</li>
<li>"Ordinary Love" from Mandela: Long Walk to Freedom (composed by Paul Hewson (Bono), David Evans (The Edge), Adam Clayton, and Larry Mullen, Jr. (U2); written by Hewson; and performed by U2)</li>
</ol>
<div>
Will Win: "Let It Go"</div>
</div>
<div>
Spoiler: "Ordinary Love"</div>
<div>
Dark Horse: "The Moon Song"</div>
<div>
Should Win: "Let It Go"</div>
<div>
Easiest choice ever. With U2 getting the Golden Globe, Frozen's win is all but assured (the Globes and Oscars almost never agree in this category)</div>
<div>
<br /></div>
<div>
Best Sound Editing:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>All Is Lost</li>
<li>Captain Phillips</li>
<li>Gravity</li>
<li>The Hobbit: The Desolation of Smaug</li>
<li>Lone Survivor</li>
</ol>
</div>
<div>
Best Sound Mixing:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Captain Phillips</li>
<li>Gravity</li>
<li>The Hobbit: An Unexpected Journey</li>
<li>Inside Llewyn Davis</li>
<li>Lone Survivor</li>
</ol>
<div>
Will Win: Gravity</div>
</div>
<div>
Spoiler: Inside Llewyn Davis</div>
<div>
Dark Horse: Captain Phillips</div>
<div>
Should Win: Gravity or Inside Llewyn Davis</div>
<div>
<br /></div>
<div>
Best Visual Effects:</div>
</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Gravity</li>
<li>The Hobbit: The Desolation of Smaug</li>
<li>Iron Man 3</li>
<li>The Lone Ranger</li>
<li>Star Trek Into Darkness</li>
</ol>
<div>
Will Win: Gravity</div>
</div>
<div>
Spoiler: The Hobbit: The Desolation of Smaug</div>
<div>
Dark Horse: Star Trek Into Darkness</div>
<div>
Should Win: Gravity</div>
<div>
<br /></div>
<div>
Best Animated Short:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Feral</li>
<li>Get a Horse</li>
<li>Mr. Hublot</li>
<li>Possessions</li>
<li>Room on the Broom</li>
</ol>
<div>
Will Win: Mr. Hublot</div>
<div>
Spoiler: Get a Horse</div>
<div>
Dark Horse: Room on the Broom</div>
<div>
All signs point to Get a Horse, but I was unimpressed both times I saw it (the two times I saw Frozen), so I'm going for what seems to be the consensus second choice.</div>
</div>
<div>
<br /></div>
<div>
Best Documentary Short:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>CaveDigger</li>
<li>Facing Fear</li>
<li>Karama Has No Walls</li>
<li>The Last in Number 6: Music Saved My Life</li>
<li>Prison Terminal: The Last Days of Private Jack Hall</li>
</ol>
<div>
Will Win: The Lady in Number 6: Music Saved My Life</div>
</div>
<div>
Spoiler: Karama Has No Walls</div>
<div>
Dark Horse: CaveDigger</div>
<div>
I essentially just put things down blindly.</div>
<div>
<br /></div>
<div>
Best Live Action Short:</div>
<div>
Nominees:</div>
<div>
<ol>
<li>Aquel no era yo (That Wasn't Me)</li>
<li>Avant que de tout perdre (Just Before Losing Everything)</li>
<li>Helium</li>
<li>Pitääkö mun kaikki hoitaa? (Do I Have to Take Care of Everything?)</li>
<li>The Voorman Problem</li>
</ol>
<div>
Will Win: The Voorman Problem</div>
</div>
<div>
Spoiler: Helium</div>
<div>
Dark Horse: Aquel no era yo (That Wasn't Me)</div>
<div>
This is the only short category of which I am essentially certain.</div>
<div>
<br /></div>
<div>
As you can see, I sincerely think (and am hoping with everything I have) that American Hustle gets shutout. If it does, it will be tie the Coens' True Grit (maybe some others, too, I don't know) for 3rd-most nominations without a win, The Turning Point and The Color Purple tied at 1st with 11.</div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-85536620100624612542014-01-20T16:56:00.001-08:002014-12-15T20:54:06.081-08:00What I Would Have Nominated in 2013<div style="margin-bottom: .0001pt; margin: 0in;">
I still
haven't done my reactions to the rest of the Oscar category nominations, and I
might not get around to it. But, since it won't take very long, I'm going to
list my top 10 for all of the main categories, at least insofar as I've seen
films. Some categories will have some poorly rated performances and will not
even include 10 nominees because I simply have not seen enough, but I will be
constantly updating this as I see more.<o:p></o:p></div>
<div style="margin: 0in 0in 0.0001pt;">
<br /></div>
<div style="margin: 0in 0in 0.0001pt;">
Best Picture:<br />
<div class="MsoNormal">
</div>
<ol>
<li>12 Years a Slave—97</li>
<li>Her—96</li>
<li>Frozen—95</li>
<li>Dallas Buyers Club—94</li>
<li>The Wolf of Wall Street—94</li>
<li>Inside Llewyn Davis—93</li>
<li>Mud—93</li>
<li>Gravity—91</li>
<li>Short Term 12—89</li>
<li>Prisoners—88</li>
</ol>
<div class="MsoNormal">
<o:p></o:p></div>
</div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo1; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo1; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo1; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l2 level1 lfo1; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoNormal">
Other Films with Score >80: Blue Jasmine; Captain Phillips; Enough Said; The Hobbit: The Desolation of Smaug; Wadjda<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Director:</div>
<div class="MsoNormal">
<div class="MsoNormal">
</div>
<ol>
<li>Alfonso Cuarón for Gravity</li>
<li>Steve McQueen for 12 Years a Slave</li>
<li>Martin Scorsese for The Wolf of Wall Street</li>
<li>Spike Jonze for Her</li>
<li>Joel and Ethan Coen for Inside Llewyn Davis</li>
<li>Jeff Nichols for Mud</li>
<li>Jean-Marc Vallée for Dallas Buyers Club</li>
<li>Denis Villeneuve for Prisoners</li>
<li>Chris Buck and Jennifer Lee for Frozen</li>
<li>Destin Daniel Cretton for Short Term 12</li>
</ol>
<div>
Best Actor:</div>
</div>
<div class="MsoNormal">
<ol>
<li>Matthew McConaughey in Dallas Buyers Club as Ron Woodroof—5</li>
<li>Leonardo DiCaprio in The Wolf of Wall Street as Jordan Belfort—5</li>
<li>Joaquin Phoenix in Her as Theodore Twombly—5</li>
<li>Oscar Isaac in Inside Llewyn Davis as Llewyn Davis—5</li>
<li>Chiwetel Ejiofor in 12 Years a Slave as Solomon Northup—5</li>
<li>Tom Hanks in Captain Phillips as Captain Richard Phillips—5</li>
<li>Jake Gyllenhaal in Prisoners as Detective Loki—5</li>
<li>Tye Sheridan in Mud as Ellis—4.5</li>
<li>Steve Coogan in Philomena as Martin Sixsmith—4.5</li>
<li>Bruce Dern in Nebraska as Woody Grant—4</li>
</ol>
Best Actress:</div>
<div class="MsoNormal">
<div class="MsoNormal">
</div>
<ol>
<li>Brie Larson in Short Term 12 as Grace—5</li>
<li>Cate Blanchett in Blue Jasmine as Jeanette "Jasmine" Francis—5</li>
<li>Sandra Bullock in Gravity as Dr. Ryan Stone—4.5</li>
<li>Emma Thompson in Saving Mr. Banks as P.L. Travers—4.5</li>
<li>Kristen Bell in Frozen as Princess Anna of Arendelle—4.5</li>
<li>Julia Louis-Dreyfus in Enough Said as Eva—4.5</li>
<li>Agata Kulesza in Ida as Wanda Gruz—4</li>
<li>Judi Dench in Philomena as Philomena Lee—4</li>
<li>Agata Trzebuchowska in Ida as Ida Lebenstein—3.5</li>
<li>Waad Mohammed in Wadjda as Wadjda—3.5</li>
</ol>
<o:p></o:p></div>
<div class="MsoNormal">
Best Supporting
Actor:<br />
<div class="MsoNormal">
</div>
<ol>
<li>Michael Fassbender in 12 Years a Slave as Edwin Epps—5</li>
<li>Barkhad Abdi in Captain Phillips as Abduwali Muse—5</li>
<li>Matthew McConaughey in Mud as Mud—4.5</li>
<li>James Gandolfini in Enough Said as Albert—4.5</li>
<li>Matthew McConaughey in The Wolf of Wall Street as Mark Hanna—4.5</li>
<li>Jared Leto in Dallas Buyers Club as Rayon—5</li>
<li>Luke Evans in The Hobbit: The Desolation of Smaug as Bard the Bowman—4.5</li>
<li>Colin Farrell in Saving Mr. Banks as Travers Goff—4.5</li>
<li>Jeremy Renner in American Hustle as Carmine Polito—4</li>
<li>Richard Armitage in The Hobbit: The Desolation of Smaug as Thorin Oakenshield—4</li>
</ol>
Best Supporting
Actress:</div>
<div class="MsoNormal">
<div class="MsoNormal">
</div>
<ol>
<li>Lupita Nyong’o in 12 Years of Slave as Patsey—5</li>
<li>Sarah Paulson in 12 Years a Slave as Mary Epps—4.5</li>
<li>Melissa Leo in Prisoners as Holly Jones—4.5</li>
<li>Scarlett Johansson in Her as Samantha—4.5</li>
<li>Sally Hawkins in Blue Jasmine as Ginger—4</li>
<li>Carey Mulligan in Inside Llewyn Davis as Jean Berkey—4</li>
<li>Amy Adams in Her as Amy—4</li>
<li>Alfre Woodard in 12 Years a Slave as Mistress Harriet Shaw—4</li>
<li>Reem Abdullah in Wadjda as Mother—3.5</li>
<li>June Squibb in Nebraska as Kate Grant—3.5</li>
</ol>
</div>
<div class="MsoNormal">
Best Adapted
Screenplay:<br />
<ol>
<li>The Wolf of Wall Street (Terence Winter, from the memoir by Jordan Belfort)</li>
<li>12 Years a Slave (John Ridley, from the memoir <i>Twelve Years a Slave</i> by Solomon Northup)</li>
<li>Philomena (Steve Coogan and Jeff Pope, from the book <i>The Lost Child of Philomena Lee</i> by Martin Sixsmith)</li>
<li>Short Term 12 (Destin Daniel Cretton, from the short film written and directed by him)</li>
<li>Frozen (Jennifer Lee, Chris Buck, and Shane Morris, from the fairy tale <i>The Snow Queen</i> by Hans Christian Andersen)</li>
<li>Captain Phillips (Billy Ray, from the book <i>A Captain's Duty: Somali Pirates, Navy SEALs, and Dangerous Days at Sea</i> by Richard Phillips and Stephan Talty)</li>
<li>The Hobbit: The Desolation of Smaug (Fran Walsh, Philippa Boyens, Peter Jackson, and Guillermo del Toro, from the novel <i>The Hobbit</i> by J.R.R. Tolkien)</li>
</ol>
</div>
<div class="MsoNormal">
Best Original
Screenplay:<br />
<ol>
<li>Her (Spike Jonze)</li>
<li>Mud (Jeff Nichols)</li>
<li>Inside Llewyn Davis (Joel and Ethan Coen)</li>
<li>Dallas Buyers Club (Craig Borten and Melisa Wallack)</li>
<li>Blue Jasmine (Woody Allen)</li>
<li>Enough Said (Nicole Holofcener)</li>
<li>Prisoners (Aaron Guzikowski)</li>
<li>Wadjda (Haifaa al-Mansour)</li>
<li>Gravity (<span lang="ES">Alfonso Cuar</span><span lang="ES">ó</span><span lang="ES">n and Jon</span><span lang="ES">á</span><span lang="ES">s Cuar</span><span lang="ES">ó</span><span lang="ES">n)</span></li>
<li>Saving Mr. Banks (Kelly Marcel and Sue Smith)</li>
</ol>
</div>
<div class="MsoNormal">
I know there are
numerous films, performances, etc. not listed here, and that’s because I haven’t
seen them. I am attempting to remedy this, though the process with be long.<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-31830538490030578552014-01-20T16:27:00.001-08:002015-01-05T14:23:59.131-08:00Her<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-9a_pYPFZbQA/Ut29mZUamqI/AAAAAAAAAvA/hFxU70ussGQ/s1600/Her1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-9a_pYPFZbQA/Ut29mZUamqI/AAAAAAAAAvA/hFxU70ussGQ/s1600/Her1.jpg" height="320" width="228" /></a>In the near past, The Beatles told us that all we need is
love; in the near future, Spike Jonze’s Her elucidates that the ever-evolving
world around us may make The Beatles’ timeless message untrue or, at least,
only partly true.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Narratively, Her is a love story about Theodore Twombly and
Samantha, an artificially intelligent operating system. But it’s much more than
that.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I could talk about the separate elements that make up this
remarkable film, such as Joaquin Phoenix’s often touching, intermittently heartwrenching
performance as Theodore Twombly; or Scarlett Johansson’s tremendous, powerful
voice-work as Samantha, the titular Her; or Amy Adams’ lovely, underrated work
as Amy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I could talk about Spike Jonze’s beautiful, heartfelt
direction or his ingenious, visionary, often hysterical (sometimes uneasily
so), tight-rope-walking script, which is probably the best I’ve encountered in
years.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-5qgStRbX-Tk/Ut29nnBrIHI/AAAAAAAAAvE/1oAy2wieFqw/s1600/Her2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-5qgStRbX-Tk/Ut29nnBrIHI/AAAAAAAAAvE/1oAy2wieFqw/s1600/Her2.jpg" height="213" width="320" /></a>I could talk about Arcade Fire’s surprisingly great, low-key
score; or Hoyte van Hoytema’s gorgeous, largely unsung cinematography; or K.K.
Barrett and Gene Serdena’s stunning production design; or Casey Storm’s interesting
costumes, composed of a mixture of hipster designs and 70’s tweed.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I could talk almost endlessly about how all of these
elements contribute to create the film, and yet I would never begin to scratch
the surface of what makes this movie so powerful and compelling.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-F1PtXHOpocA/Ut29tdUfR9I/AAAAAAAAAvc/lyftiMG2zLo/s1600/Her6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-F1PtXHOpocA/Ut29tdUfR9I/AAAAAAAAAvc/lyftiMG2zLo/s1600/Her6.jpg" height="180" width="320" /></a>The near future Jonze envisions is a strangely dystopian
world in which an outwardly paradisiacal world conceals a deeply troubled
society within. It is a world whose inhabitants are so caught up in the
increasing pace of life in their technologically advanced world that they
routinely fail to connect with that world.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They hire people to write their thank you notes and congratulatory
letters for them. They spend far more of their time using their technology than
they do taking advantage of the natural world around them. Worst of all,
perhaps, they give up on their personal relationships seemingly at the smallest
signs of adversity, having lost either their ability or their will to persevere
through rough patches.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-ZBMrMM2rZ-Y/Ut29uhTg5dI/AAAAAAAAAvo/Iq2OujksHgA/s1600/Her5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-ZBMrMM2rZ-Y/Ut29uhTg5dI/AAAAAAAAAvo/Iq2OujksHgA/s1600/Her5.jpg" height="180" width="320" /></a>Their fast-paced lives have changed them. They want the
quick-fix solution.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Physical sex and phone sex have replaced dinner or a cup of
coffee as the staples of personal relationships. Indeed, once the passion in a
relationship seems to have disappeared, people seem to be more willing to move
on than to continue in the relationship.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Into this troubled world steps an artificially intelligent operating
system that caters to the personality of its user. It both undermines the
problems of this dystopia and affirms them. It largely takes away the physical,
carnal aspect of love, allowing for a connection based on emotional
compatibility, not physical attraction. But it also exemplifies the desire for
a quick-fix. It allows them to answer a few questions and instantly be supplied
with a personality that, at least initially, is an emotional match. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-JXtJc9IvTFw/Ut29qGjPo7I/AAAAAAAAAvQ/IDwvpjRsaM8/s1600/Her3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-JXtJc9IvTFw/Ut29qGjPo7I/AAAAAAAAAvQ/IDwvpjRsaM8/s1600/Her3.jpg" height="180" width="320" /></a>Her is a film about love and relationships, but not necessarily
about succeeding at either. It is a film that challenges our preconceptions
about the nature of love and who can love whom. It is a fascinating examination
of the limitations of the human heart’s capacity to give love, of the human
mind’s facility to understand what it feels, and, most importantly, of humanity’s
ability, or inability, to control what it creates.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Despite its setting, this film isn’t just about the future.
Even now, Jonze argues, we have lost sight of what love really is and what it
genuinely entails to love another person. The residents of Her’s near future,
much like people today, are afraid to do anything real because they fear the
heartache and adversity it may, at times, cause. They, and we, fear commitment,
want a perfect emotional match, and are willing to sacrifice the tangibility of
the human body for an easier time of it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-DwdZGbtWTXw/Ut29sDmj9iI/AAAAAAAAAvY/OLtbPwc2vkA/s1600/Her4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-DwdZGbtWTXw/Ut29sDmj9iI/AAAAAAAAAvY/OLtbPwc2vkA/s1600/Her4.jpg" height="180" width="320" /></a></div>
<div class="MsoNormal">
At one point, Samantha tells Theodore that “The past is just
a story we tell ourselves.” In that commitment-afraid world, and in the world
of the now, that message is an important one to remember.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No, it’s not totally perfect. I would have liked Jonze to
have begun his assessment of the issues surrounding the film’s central
relationship about 10-15 minutes earlier than he did. But once the assessment
does begin, I could not have asked for a better film. It is a film with a
definite thesis, a thesis of important ramifications, but it is never a film
that attempts to convince you to agree with it; it is never heavy-handed or
pandering, rarely pretentious or haughty, always genuine and honest.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-lrzjqoDXwQA/Ut2-3sSC0EI/AAAAAAAAAv0/_euVuLA5seM/s1600/Her7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-lrzjqoDXwQA/Ut2-3sSC0EI/AAAAAAAAAv0/_euVuLA5seM/s1600/Her7.jpg" height="180" width="320" /></a>“Only connect” is the powerful and important message of E.M.
Forster’s masterful 1910 novel <i>Howards End </i>and of the terrific 1992 film
adapted from it. Forster meant that people of all classes and backgrounds should
connect with each other. Jonze’s take on this idea is just as powerful. It also
could not be timelier. We are who we are because we are human, because we have
form. Technology does not. We must connect with other people, or else
technology may just decide to get up and walk away. Emotional and physical connection are of equal importance.</div>
<br />
<div class="MsoNormal">
96<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-10110828693567174412014-01-16T16:27:00.003-08:002014-02-07T00:26:56.924-08:00Oscar Nomination Reactions 2013<div class="MsoNormal">
Oscar Nominations Day, it seems, is a day for me to wake up
early, getting much less sleep than I otherwise would, because I’m excited to
see the nominees as they’re announced. Every year, though, they make decisions
that, at best, make me shake my head. This year, though, the Academy really
outdid itself. If not for my sleeping roommate, there were have been much
yelling (and perhaps even some expletive flinging) at some of this year’s
head-scratchers.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Here are my reactions to the main categories. I have fewer
thoughts on all of the others, so this should pretty much split the length up
in half, with the second set of reactions coming out probably tomorrow
sometime. For this post, I will also put my score (out of 100 for films; out of
5 for performances, directorial efforts, and screenplays) next to everything,
as well as ranking them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Picture Predictions:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Saving Mr. Banks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inside Llewyn Davis<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;"> </span><!--[endif]--><span dir="LTR"></span>Dallas Buyers Club<o:p></o:p></div>
<div class="MsoNormal">
First Ones In: Blue Jasmine; August: Osage County<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Philomena; Before Midnight<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Picture:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (97)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (56)-9<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (88)-6<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Dallas Buyers Club (95)-3<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity (91)-5<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her (96)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska (62)-8<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Philomena (78)-7<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l4 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street
(94)-4<o:p></o:p></div>
<div class="MsoNormal">
Score: 7/9<o:p></o:p></div>
<div class="MsoNormal">
Reaction: If you stick to the Academy’s number of 9
nominees, then I got 7/9, or 8/9 if you allow me 10 prediction slots for 9
nominations. Anyway, that’s not all that bad, I don’t think, though last year I
was perfect in this category, 9/9, with Moonrise Kingdom as my #10. That said,
I am pretty ecstatic with the results here. Sure, I don’t think this category
(or pretty much any of them for that reason) should be touching American Hustle
or Nebraska with a 10-foot pole, but it was going to happen all along, so I’m not
going to fight it (trust me, there’s much complaining to come on that front). Dallas
Buyers Club getting in absolutely terrific, and while I’m disappointed I didn’t
get Saving Mr. Banks right, I’m happier that Philomena was nominated as opposed
to SMB. Very, very, very disappointed Inside Llewyn Davis failed to make it on,
though.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Director Predictions:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l15 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Steve McQueen for 12 Years
a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Alfonso Cuarón for Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Martin Scorsese for The
Wolf of Wall Street<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Paul Greengrass for Captain
Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l15 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David O. Russell for
American Hustle<o:p></o:p></div>
<div class="MsoNormal">
First One In: Alexander Payne for Nebraska<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Spike Jonze for Her; Woody Allen for Blue
Jasmine; J.C. Chandor for All Is Lost<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Director:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l10 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Alfonso Cuarón for Gravity
(5)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Steve McQueen for 12 Years
a Slave (5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Alexander Payne for
Nebraska (2.5)-4<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David O. Russell for
American Hustle (2)-5<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l10 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Martin Scorsese for The
Wolf of Wall Street (5)-3<o:p></o:p></div>
<div class="MsoNormal">
Score: 4/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: Again, not a bad showing at all. Alexander Payne is
an Academy darling, so I’m not surprised, even though I think his nomination,
as well as Russell’s, is horrendous. Russell is such an absolute jerk that he
deserves nothing, ever. I really liked his direction of Silver Linings
Playbook, but here he shows his true colors. He has put Christopher Nolan in a headlock
for trying to steal Jude Law for a movie (Jude Law? Seriously!). He also got
into a fistfight with Clooney over his poor treatment of extras (I assume that
was on Three Kings), and his fights with Lily Tomlin, which can be found on
YouTube, are pretty bad. (All info courtesy of Louis Morgan
(actoroscar.blogspot.com)). There were really only 6 legitimate contenders this
year (sorry, Spike), and Greengrass’s hand-held, wobbly style is troubling to many,
so his absence is understandable, and thus Payne gets on.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Actor Predictions:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l12 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chiwetel Ejiofor in 12
Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Matthew McConaughey in
Dallas Buyers Club<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Tom Hanks in Captain Hanks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Bruce Dern in Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l12 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Robert Redford in All Is
Lost<o:p></o:p></div>
<div class="MsoNormal">
First One In: Christian Bale in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Leonardo DiCaprio in The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoNormal">
Third One In: Oscar Isaac in Inside Llewyn Davis<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Joaquin Phoenix in Her; Michael B. Jordan
in Fruitvale Station; Forest Whitaker in Lee Daniels’ The Butler<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Actor:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l6 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Christian Bale in American
Hustle (3)-5<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Bruce Dern in Nebraska
(4)-4<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Leonardo DiCaprio in The
Wolf of Wall Street (5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chiwetel Ejiofor in 12
Years a Slave (5)-3<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l6 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span> Matthew McConaughey in Dallas Buyers Club
(5)-1<o:p></o:p></div>
<div class="MsoNormal">
Score: 3/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: This was very unfortunate. I have seen neither
Hanks nor Redford, but I have not heard anything negative about any of them,
and most things are quite positive, so it’s a shame that somebody so mediocre
like Bale gets on. When I saw Cooper and then Bale get nominations, I knew
American Hustle was in for making a killing, and they did. It’s a borderline
terrible movie that is poorly directed, disgustingly overacted, horrendously
underacted, and just plain bad. Not one “character-driven” moment seems
authentic in any way, and much of the film, which should be continuously fun in
the vein of the ‘70s heist it masquerades as, is terribly boring. Bale is fine,
but does nothing with his character, which fortunately for him, is supposed to
be a boring guy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Actress Predictions:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l14 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Cate Blanchett in Blue
Jasmine<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sandra Bullock in Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Emma Thompson in Saving Mr.
Banks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Judi Dench in Philomena<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l14 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Meryl Streep in August:
Osage County<o:p></o:p></div>
<div class="MsoNormal">
First One In: Amy Adams in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Brie Larson in Short Term 12; Adèle
Exarchopoulos in Blue Is the Warmest Colour; Julie Delpy in Before Midnight<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Actress:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l9 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Amy Adams in American
Hustle (3.5)-3<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Cate Blanchett in Blue Jasmine
(not seen)-N/A<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sandra Bullock in Gravity (4.5)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Judi Dench in Philomena
(3.5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l9 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Meryl Streep in August:
Osage County (not seen)-N/A<o:p></o:p></div>
<div class="MsoNormal">
Score: 4/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: It is very unfortunate that Emma Thompson got
snubbed for Amy Adams’ performance and for Meryl Streep. Let’s be honest:
Streep got on because she’s Streep (granted I haven’t seen her). Adams used to
be my favorite lead member of Hustle’s cast, but the more I think about her,
the more I dislike her. It’s unfortunate that Thompson, my current #2 for the
year, got snubbed. Her film was so-so at times, but she was always great,
lending much-needed depth to a sometimes idle script. Kristen Bell not even
being in the conversation for her brilliant voice work in Frozen is
understandable, but frustrating nonetheless.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Supporting Actor:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jared Leto in Dallas Buyers
Club<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Fassbender in 12
Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Barkhad Abdi in Captain
Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Daniel Brühl in Rush<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>James Gandolfini in Enough
Said<o:p></o:p></div>
<div class="MsoNormal">
First One In: Bradley Cooper in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Tom Hanks in Saving Mr. Banks<o:p></o:p></div>
<div class="MsoNormal">
Third One In: Jonah Hill in The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: nobody really<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Supporting Actor:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l3 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Barkhad Abdi in Captain
Phillips (5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Bradley Cooper in American
Hustle (2)-5<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Fassbender in 12
Years a Slave (5)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jonah Hill in The Wolf of
Wall Street (3)-4<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l3 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jared Leto in Dallas Buyers
Club (5)-3<o:p></o:p></div>
<div class="MsoNormal">
Score: 3/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: First, let’s get the snubs out of the way before I
rage against the machine. I thought James Gandolfini would get on because he
had the SAG nomination and because he died within the past year, but evidently
playing completely against type (film type, evidently he was an immensely
gentle and loving guy in real life) and dying isn’t good enough. Brühl, who I
figured was a long shot at the beginning, got every single major prerequisite
nomination. SAG, BAFTA, Globes. What else does a guy need? I haven’t seen Rush,
which was completely shut-out surprisingly, so I can’t comment, but he’d be
hard-pressed to be worse than Cooper. Hill was fine, and better than his
Moneyball nomination, but he wasn’t worthy of his nomination. Cooper was horrendous.
He played an off-the-wall character, but never figured out how to create an
actual character. Instead, his outbursts have no backing in the personality he
otherwise emits, which should have been an overly ambitious one. Everything
about this performance is bad, and I’m toying with knocking him down to a 1.5
instead of a 2.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Supporting Actress Predictions:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l7 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Lupita Nyong’o in 12 Years
a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jennifer Lawrence in
American Hustle<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Julia Roberts in August:
Osage County<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>June Squibb in Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l7 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sally Hawkins in Blue
Jasmine<o:p></o:p></div>
<div class="MsoNormal">
First One In: Oprah Winfrey in Lee Daniels’ The Butler<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: nobody, but there should be, especially
Sarah Paulson and Alfre Woodard in 12 Years, Carey Mulligan in Inside Llewyn,
Jennifer Garner in Dallas Buyers, and Margot Robbie in The Wolf.<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Supporting Actress:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l8 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Lupita Nyong’o in 12 Years
a Slave (5)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jennifer Lawrence in
American Hustle (3.5)-3_<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Julia Roberts in August:
Osage County (not seen)-N/A<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>June Squibb in Nebraska
(3.5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l8 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sally Hawkins in Blue
Jasmine (not seen)-N/A<o:p></o:p></div>
<div class="MsoNormal">
Score: 5/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: Checkmate, atheists! It’s a real shame I got all 5
in such a terribly weak category, though. Nyong’o was a shoo-in, but her
co-star Sarah Paulson should have been, too. Roberts, sight unseen, is
obviously a co-lead, but I’ve heard it might be her first semi-good
performance, so kudos to her. Squibb is fine as the sassy old woman but adds
little-to-no of the requisite emotional depth. Lawrence is sometimes overacting
and sometimes entertaining, though she always just seems to be repeating her
SLP performance when she is the latter. Perhaps worst of all, though, she is,
at age 23, incredibly unconvincing as a woman who has supposedly been in a
dead-end marriage for 10 years of so. Is terrible casting, and Lawrence does
nothing to help it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Adapted Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l5 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (John
Ridley)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street
(Terence Winter)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Philomena (Steve Coogan and
Jeff Pope)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (Billy
Ray)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l5 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Before Midnight (Richard
Linklater, Ethan Hawke, and Julie Delpy)<o:p></o:p></div>
<div class="MsoNormal">
First One In: August: Osage County (Tracy Letts)<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Lone Survivor (Peter Berg)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: none that I can think of<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Adapted Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l2 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (John
Ridley) (5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Before Midnight (Richard
Linklater, Ethan Hawke, and Julie Delpy) (not seen)-N/A<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (Billy
Ray) (4-4.5)-4<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Philomena (Steve Coogan and
Jeff Pope) (4.5)-3<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l2 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street
(Terence Winter) (5)-1<o:p></o:p></div>
<div class="MsoNormal">
Score: 5/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: 2 perfects in a row. As far as I know, this is a
very strong category, and the only film with the potential to be a better
option than one of these is Frozen, which wasn’t even in the conversation, so
what can you do.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Original Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l13 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (Eric
Warren Singer and David O. Russell)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her (Spike Jonze)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Blue Jasmine (Woody Allen)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inside Llewyn Davis (Joel
and Ethan Coen)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l13 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska (Bob Nelson)<o:p></o:p></div>
<div class="MsoNormal">
First One In: Dallas Buyers Club<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Enough Said (Nicole Holofcener)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Gravity (Alfonso Cuarón and Jonás Cuarón)<o:p></o:p></div>
<div class="MsoNormal">
Actual Best Original Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l11 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (Eric
Warren Singer and David O. Russell) (2.5)-3<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Blue Jasmine (Woody Allen)
(not seen)-N/A<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Dallas Buyers Club (Craig
Borten and Melisa Wallack) (4.5)-2<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her (Spike Jonze) (5)-1<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l11 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska (Bob Nelson)
(2.5)-4<o:p></o:p></div>
<div class="MsoNormal">
Score: 4/5<o:p></o:p></div>
<div class="MsoNormal">
Reaction: This is a pretty bad category. Gravity, a pretty
weak script, would have made this a better category, as would have Saving Mr.
Banks’s sappy, schmaltz-fest. I’m sure Blue Jasmine and Her are good, but they
cannot save this category from the terribleness in the room, American Hustle
and Nebraska.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of the films nominated in these 8 major categories, I still
must see Captain Phillips and Her, both of which I hope to see this weekend, as
well as Blue Jasmine, August: Osage County, and Before Midnight.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I said, I will probably get the rest of the categories
out tomorrow. At the end of that, I will do some sort of summation where I
discuss overall goods, bads, and uglies (I think most people know where that
one will lead). Until then, good night, and good luck.<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-66813160005354163792014-01-15T18:20:00.002-08:002014-02-07T00:27:15.937-08:00Oscar Nomination Predictions 2013<div class="MsoNormal">
Oscar nominations come out in the morning at 8:30 Eastern/5:30
Pacific, so I will be up at 7:15 or so in order to watch the announcement.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anyway, here are my predictions for every single category.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
All of my predictions are in order of likelihood, especially
further down the list in each category:<o:p></o:p></div>
<div class="MsoNormal">
Best Picture:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Saving Mr. Banks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inside Llewyn Davis<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l5 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt;"> </span><!--[endif]--><span dir="LTR"></span>Dallas Buyers Club<o:p></o:p></div>
<div class="MsoNormal">
First Ones In: Blue Jasmine; August: Osage County<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Philomena; Before Midnight<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: I am pretty much 100% confident that the first 7
will be nominated. If the Academy continues their trend of 9 nominees instead
of 10, then I hope Dallas Buyers gets in ahead of Inside Llewyn Davis, even
though Davis was very good.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Director:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l20 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Steve McQueen for 12 Years
a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l20 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Alfonso Cuarón for Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l20 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Martin Scorsese for The
Wolf of Wall Street<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l20 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Paul Greengrass for Captain
Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l20 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>David O. Russell for
American Hustle<o:p></o:p></div>
<div class="MsoNormal">
First One In: Alexander Payne for Nebraska<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Spike Jonze for Her; Woody Allen for Blue
Jasmine; J.C. Chandor for All Is Lost<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: The first 3 are virtual locks, and Greengrass is
pretty much a lock too. I thought both Russell’s and Payne’s directorial
efforts were sub-par, but they’re definitely the two people duking it out for
that 5<sup>th</sup> spot.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Actor:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l13 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Chiwetel Ejiofor in 12
Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Matthew McConaughey in
Dallas Buyers Club<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Tom Hanks in Captain Hanks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l13 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Bruce Dern in Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l13 level1 lfo3; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Robert Redford in All Is
Lost<o:p></o:p></div>
<div class="MsoNormal">
First One In: Christian Bale in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Leonardo DiCaprio in The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoNormal">
Third One In: Oscar Isaac in Inside Llewyn Davis<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Joaquin Phoenix in Her; Michael B. Jordan
in Fruitvale Station; Forest Whitaker in Lee Daniels’ The Butler<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: As long as Bale doesn’t get nominated, I will be
happy. I would love for DiCaprio or Isaac to get on instead of the good-but-not-great
Dern, but that doesn’t seem all that likely. So I’m going with the consensus
prediction and hoping that American Hustle gets as little love as possible.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Actress:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l19 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Cate Blanchett in Blue Jasmine<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l19 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sandra Bullock in Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l19 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Emma Thompson in Saving Mr.
Banks<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l19 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Judi Dench in Philomena<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l19 level1 lfo4; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Meryl Streep in August:
Osage County<o:p></o:p></div>
<div class="MsoNormal">
First One In: Amy Adams in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Brie Larson in Short Term 12; Adèle
Exarchopoulos in Blue Is the Warmest Colour; Julie Delpy in Before Midnight<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: This seems to be the most set-in-stone category in
recent years, which is not really necessarily a good thing. I liked Thompson
more than most, but was very underwhelmed by Dench. I haven’t seen Blanchett,
but I doubt I’d dislike her. I also haven’t seen Streep, but I figure she’s
just doing Streep. I hope the Academy decides to broaden its horizons with
Larson, Exarchopoulos, or Delpy, but I know it won’t. Also, while I did think
Adams was decent, I don’t think she’s worthy. Also, why is Julia Roberts a
supporting actress in August? I know she isn’t and I haven’t even seen it. What’s
the deal with not recognizing brilliant voice work? Kristen Bell should 100% be
in the conversation and she’s nowhere close.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Supporting Actor:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l4 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jared Leto in Dallas Buyers
Club<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Michael Fassbender in 12
Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Barkhad Abdi in Captain
Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l4 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Daniel Brühl in Rush<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l4 level1 lfo5; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>James Gandolfini in Enough
Said<o:p></o:p></div>
<div class="MsoNormal">
First One In: Bradley Cooper in American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Tom Hanks in Saving Mr. Banks<o:p></o:p></div>
<div class="MsoNormal">
Third One In: Jonah Hill in The Wolf of Wall Street<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: nobody really<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: This is a fascinating category in my opinion. It
has the potential, if my predictions are correct, to have 0 total Oscar
nominations in it. That being said, Gandolfini is at risk to Cooper, who has 1
and was horrendous in his movie, and, despite their great success, either Abdi
and Brühl could be replaced by Hanks. Anybody but Cooper, anybody but Cooper,
anybody but Cooper, anybody but Cooper.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Supporting Actress:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l11 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Lupita Nyong’o in 12 Years
a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jennifer Lawrence in
American Hustle<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Julia Roberts in August:
Osage County<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l11 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>June Squibb in Nebraska<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l11 level1 lfo6; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Sally Hawkins in Blue
Jasmine<o:p></o:p></div>
<div class="MsoNormal">
First One In: Oprah Winfrey in Lee Daniels’ The Butler<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: nobody, but there should be, especially Sarah
Paulson and Alfre Woodard in 12 Years, Carey Mulligan in Inside Llewyn, Jennifer
Garner in Dallas Buyers, and Margot Robbie in The Wolf.<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: What a dreadfully weak category. This is always a
weak category, but damn, this is bad. Going for Hawkins and not Winfrey is a
real leap of faith, but I would prefer a stronger category.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Adapted Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l10 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (John
Ridley)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street
(Terence Winter)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Philomena (Steve Coogan and
Jeff Pope)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l10 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (Billy
Ray)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l10 level1 lfo9; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Before Midnight (Richard
Linklater, Ethan Hawke, and Julie Delpy)<o:p></o:p></div>
<div class="MsoNormal">
First One In: August: Osage County (Tracy Letts)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Second One In: Lone Survivor (Peter Berg)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: This is a strong category. 12 Years, Wolf, and
Philomena are all very strong scripts, and I’ve also heard great things about Captain
Phillips and Before Midnight. Lone Survivor is a major long-shot, and August:
Osage County’s script just got some bad reviews, but it’s a definite threat to
make it instead of Before Midnight.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Original Screenplay:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l17 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (Eric
Warren Singer and David O. Russell)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l17 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Her (Spike Jonze)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l17 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Blue Jasmine (Woody Allen)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l17 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inside Llewyn Davis (Joel
and Ethan Coen)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l17 level1 lfo7; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska (Bob Nelson)<o:p></o:p></div>
<div class="MsoNormal">
First One In: Dallas Buyers Club<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Enough Said<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Gravity (Alfonso Cuarón and Jonás Cuarón)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: This is also a weak category. Dallas Buyers is my
favorite Original of the year (based on what I’ve seen, of course), and I did
not like the screenplays to American Hustle and Nebraska, but this is almost
certainly the lineup.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Animated Feature:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l7 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Frozen<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wind Rises<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Monsters University<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l7 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Despicable Me 2<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l7 level1 lfo8; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Ernest and Celestine<o:p></o:p></div>
<div class="MsoNormal">
First One In: The Croods<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Cloudy with a Chance of Meatballs 2; Epic;
Planes<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Going with Ernest and Celestine instead of The
Croods will, in all likelihood, come back to bite me, but they’ve surprised
before with things like The Pirates! Band of Misfits, A Cat in Paris, Chico and
Rita, The Illusionist, and The Secret of the Kells, so I’m hoping Ernest and
Celestine with be this year’s The Triplets of Belleville.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Foreign Language Film:<o:p></o:p></div>
<div class="MsoNormal">
First here’s the shortlist:<o:p></o:p></div>
<div class="MsoNormal">
The Broken Down Circle Breakdown (Belgium)<o:p></o:p></div>
<div class="MsoNormal">
An Episode in the Life of an Iron Picker (Bosnia and
Herzegovina)<o:p></o:p></div>
<div class="MsoNormal">
The Grandmaster (Hong Kong)<o:p></o:p></div>
<div class="MsoNormal">
The Great Beauty (Italy)<o:p></o:p></div>
<div class="MsoNormal">
The Hunt (Denmark)<o:p></o:p></div>
<div class="MsoNormal">
The Missing Picture (Cambodia)<o:p></o:p></div>
<div class="MsoNormal">
The Notebook (Hungary)<o:p></o:p></div>
<div class="MsoNormal">
Omar (Palestine)<o:p></o:p></div>
<div class="MsoNormal">
Two Lives (Germany)<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l6 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Great Beauty (Italy)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Hunt (Denmark)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Grandmaster (Hong Kong)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l6 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Broken Down Circle
Breakdown (Belgium)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l6 level1 lfo11; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Omar (Palestine)<o:p></o:p></div>
<div class="MsoNormal">
First One In: Two Lives (Germany)<o:p></o:p></div>
<div class="MsoNormal">
Second One In: The Notebook (Hungary)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: The Great Beauty is the run-away favorite with The
Hunter a distant second. Everything else is far behind. The Grandmaster benefits
from its pedigree, and while Omar is perhaps slightly less likely than Two
Lives, I’m giving it the nod because it’s directed by the guy who did Paradise
Now, and I think name recognition, if that even exists for Hany Abu-Assad, will
make a difference over Two Lives.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Documentary Feature:<o:p></o:p></div>
<div class="MsoNormal">
First here’s the shortlist:<o:p></o:p></div>
<div class="MsoNormal">
20 Feet from Stardom<o:p></o:p></div>
<div class="MsoNormal">
The Act of Killing<o:p></o:p></div>
<div class="MsoNormal">
The Armstrong Lie<o:p></o:p></div>
<div class="MsoNormal">
Blackfish<o:p></o:p></div>
<div class="MsoNormal">
The Crash Reel<o:p></o:p></div>
<div class="MsoNormal">
Cutie and the Boxer<o:p></o:p></div>
<div class="MsoNormal">
Dirty Wars<o:p></o:p></div>
<div class="MsoNormal">
First Cousin Once Removed<o:p></o:p></div>
<div class="MsoNormal">
God Loves Uganda<o:p></o:p></div>
<div class="MsoNormal">
Life According to Sam<o:p></o:p></div>
<div class="MsoNormal">
Pussy Riot: A Punk Prayer<o:p></o:p></div>
<div class="MsoNormal">
The Square<o:p></o:p></div>
<div class="MsoNormal">
Stories We Tell<o:p></o:p></div>
<div class="MsoNormal">
Tim’s Vermeer<o:p></o:p></div>
<div class="MsoNormal">
Which Way Is the Front Line from Here?<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l12 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Act of Killing<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Stories We Tell<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Blackfish<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l12 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Square<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l12 level1 lfo10; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Armstrong Lie<o:p></o:p></div>
<div class="MsoNormal">
First One In: 20 Feet from Stardom<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Tim’s Vermeer<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: While I do like documentaries, I see a negligible
number of them (less than 1 per year) and have no idea about what’s going to be nominated here.
The Act of Killing has garnered significant praise, as has Stories We Tell. The
Armstrong Lie is, evidently, a long-shot, but it seems just the type of thing
they’d go for. Alex Gibney, who directed Armstrong, is also receiving a Writers’
Guild Award for his career, so I could see him making it on. 20 Feet from
Stardom, which is about backup singers or something just seems really boring to
me, which is why I’m not putting it on.<br />
<br />
Best Production Design:</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l23 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Great Gatsby (Catherine
Martin and Beverley Dunn)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l23 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (Adam
Stockhausen and Alice Baker)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l23 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity (Andy Nicholson and
Rosie Goodwin)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l23 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (Judy
Becker and Heather Loeffler)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l23 level1 lfo12; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Hobbit: The Desolation
of Smaug (Dan Hennah and Ra Vincent)<o:p></o:p></div>
<div class="MsoNormal">
First One In: Saving Mr. Banks (Michael Corenblith and Susan
Benjamin)<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Oz: The Great and Powerful (Robert Stromberg
and Nancy Haigh)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Her (K.K. Barrett and Gene Serdena)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: I don’t really have any opinion here, other than
that The Hobbit and 12 Years should be the only ones in the conversation for
the win. American Hustle was very good but not great. In case people actually
care about the category, though, I should explain that it is a combination of
Art Direction and Set Design. Essentially that boils down to sets and props. Every
set you see in a movie was drawn by a set designer and every prop was chosen to
create the time and geographical setting, etc.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Cinematography:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l8 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity (Emmanuel Lubezki)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (Sean
Bobbit)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Inside Llewyn Davis (Bruno
Delbonnel)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l8 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Nebraska (Phedon
Papamichael)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l8 level1 lfo15; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Prisoners (Roger Deakins<o:p></o:p></div>
<div class="MsoNormal">
First One In: Captain Phillips (Barry Ackroyd)<o:p></o:p></div>
<div class="MsoNormal">
Second One In: Rush (Anthony Dod Mantle)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: none<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Gravity and 12 Years a Slave are definite locks.
Inside Llewyn Davis seems to be a lock too. So does Nebraska, even though that’s
only because it’s in black-and-white. Prisoners is probably less likely than
Captain Phillips and Rush, but I’m expecting the Academy to balk at Captain
Phillips’s shakiness and for Deakins’ name recognition to propel him to his 10<sup>th</sup>
nomination and, eventually, his 10<sup>th</sup> loss. If Lubezki doesn’t win
this thing, it will be the biggest debacle since he lost for The Tree of Life 3
years ago.<o:p></o:p></div>
<div class="MsoNormal">
Best Costume Design:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l3 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Great Gatsby (Catherine
Martin)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (Patricia
Norris)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle (Michael
Wilkinson)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l3 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Saving Mr. Banks (Daniel
Orlandi)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l3 level1 lfo14; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Oz: The Great and Powerful
(Gary Jones)<o:p></o:p></div>
<div class="MsoNormal">
First One In: The Invisible Woman (Michael O’Connor)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: The Hunger Games: Catching Fire (Trish
Summerville); The Hobbit: The Desolation of Smaug (Bob Buck, Ann Maskrey, and
Richard Taylor)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: American Hustle is more likely than Oz and Mr.
Banks, and I hate that fact. I’d say this category is pretty solid, unless The
Invisible Woman makes it in, which is a distinct possibility.<o:p></o:p></div>
<div class="MsoNormal">
Best Editing:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l18 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity (Mark Sanger and
Alfonso Cuarón)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l18 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (Christopher
Rouse)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l18 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (Joe
Walker)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l18 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Wolf of Wall Street
(Thelma Schoonmaker)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l18 level1 lfo13; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rush (Daniel P. Hanley and
Mike Hill)<o:p></o:p></div>
<div class="MsoNormal">
First One In: American Hustle (Jay Cassidy and Crispin
Struthers)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: none<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Well-made, physical thrillers are always the best
bets in this category, followed by Best Picture contenders, which is why I’m
insane for going with Rush instead of American Hustle, but I just didn’t like
the latter, and the former fits the bill, so there we have it. I’ll probably
pay for it come the morning, but I don’t care.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Makeup and Hairstyling:<o:p></o:p></div>
<div class="MsoNormal">
First the shortlist:<o:p></o:p></div>
<div class="MsoNormal">
American Hustle<o:p></o:p></div>
<div class="MsoNormal">
Bad Grandpa<o:p></o:p></div>
<div class="MsoNormal">
Dallas Buyers Club<o:p></o:p></div>
<div class="MsoNormal">
The Great Gatsby<o:p></o:p></div>
<div class="MsoNormal">
Hansel and Gretel: Witch Hunters<o:p></o:p></div>
<div class="MsoNormal">
The Hunger Games: Catching Fire<o:p></o:p></div>
<div class="MsoNormal">
The Lone Ranger<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l2 level1 lfo18; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>American Hustle<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l2 level1 lfo18; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Dallas Buyers Club<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l2 level1 lfo18; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Great Gatsby<o:p></o:p></div>
<div class="MsoNormal">
First One In: The Hunger Games: Catching Fire<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: The Lone Ranger<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: If Dallas Buyers isn’t nominated for this, I will
flip out. If it’s not nominated for Best Picture, then, statistically, American
Hustle cannot lose. If/When it does win, it quite possibly will be the film’s
only worthy win.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Original Score:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l14 level1 lfo17; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity (Steven Price)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo17; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave (Hans
Zimmer)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo17; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Book Thief (John
Williams)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l14 level1 lfo17; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Saving Mr. Banks (Thomas
Newman)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l14 level1 lfo17; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips (Henry
Jackman)<o:p></o:p></div>
<div class="MsoNormal">
First One In: All Is Lost (Alex Ebert)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Rush (Hans Zimmer)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: All Is Lost won<span dir="RTL"></span><span dir="RTL"></span><span dir="RTL" lang="AR-SA" style="font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-font-size: 12.0pt; mso-ascii-font-family: "Times New Roman"; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-hansi-font-family: "Times New Roman";"><span dir="RTL"></span><span dir="RTL"></span></span><span dir="LTR"></span><span dir="LTR"></span><span dir="LTR"></span><span dir="LTR"></span>’t make it in because
it won the Golden Globe. On the seldom occasions when the Globes get it right,
the Oscars don’t. This will be an interesting duel between Gravity and 12 Years
come Oscar night. Rush is technically the second one in, but that’s incredibly
unlikely. Let’s be honest: John Williams is the only guy they’d nominate twice
in one year nowadays. Also, if I’m correct, then congratulations to Thomas
Newman for his 12<sup>th</sup> nomination and 12<sup>th</sup> loss in this
category.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Original Song:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l16 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>“Let It Go” from Frozen (written
by Robert Lopez and Kristen Anderson-Lopez and performed by Idina Menzel (film)
and Demi Lovato (credits)) (Idina’s is the best)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l16 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>“Ordinary Love” from
Mandela: Long Walk to Freedom (written by U2 and Brian Burton and performed by
U2)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l16 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>“Young and Beautiful”
(written by Lana Del Ray and Rick Nowels and performed by Del Ray)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l16 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Moon Song (written by
Karen Orzolek and Spike Jonze and performed by Karen O)<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l16 level1 lfo16; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Atlas (written and performed
by Coldplay)<o:p></o:p></div>
<div class="MsoNormal">
First One In: “Happy” from Despicable Me 2 (written and
performed by Pharrell Williams)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: “I See Fire” from The Hobbit: The
Desolation of Smaug (written and performed by Ed Sheeran); “My Lord Sunshine”
from 12 Years a Slave (written by Nicholas Britell and performed by David
Hughey and Roosevelt Credit)<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: It’s a huge shame “In Summer”, and “Love Is an
Open Door” to a lesser extent, from Frozen weren’t shortlisted. Same with “Please
Mr. Kennedy” from Inside Llewyn Davis. <o:p></o:p></div>
<div class="MsoNormal">
Overall, I’ll probably only get the top three correct, as
the music department votes incredibly oddly for this category every year. “I
See Fire” didn’t really work with the movie in my opinion. I’m very happy “Ordinary
Love” won the Globe because the Globes and the Oscars pretty much never match
up in this category, and I want “Let It Go” to win incredibly badly.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Sound Editing<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l15 level1 lfo23; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo23; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>All Is Lost<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo23; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l15 level1 lfo23; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rush<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l15 level1 lfo23; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave<o:p></o:p></div>
<div class="MsoNormal">
First One In: Lone Survivor<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Pacific Rim<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Most importantly, this means sound effects
editing, so things like explosions, weather phenomena, car crashes, etc. This pretty
much has more to do with sound creation than anything else. Thus, Gravity, All
Is Lost, and Rush are locks, as is Captain Phillips.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sound Mixing:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l22 level1 lfo24; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l22 level1 lfo24; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Captain Phillips<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l22 level1 lfo24; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>All Is Lost<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l22 level1 lfo24; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>12 Years a Slave<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l22 level1 lfo24; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Rush<o:p></o:p></div>
<div class="MsoNormal">
First One In: Inside Llewyn Davis<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: absolutely none<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: This is the category for sound. So how well are
all of the sound tracks (speech, score, crickets chirping, etc.) put together. Inside
Llewyn Davis is on the outside looking in only because the other five are so
strong in this regard. Rush, though, could lose its place.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Visual Effects:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l9 level1 lfo22; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Gravity<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo22; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Hobbit: The Desolation
of Smaug<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo22; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Pacific Rim<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l9 level1 lfo22; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Elysium<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l9 level1 lfo22; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Star Trek Into Darkness<o:p></o:p></div>
<div class="MsoNormal">
First One In: Iron Man 3<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: World War Z<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Gravity can’t lose (apologies in advance to the
excellent effects by The Hobbit’s crew), so trying to figure out who else will
be nominated is just an exercise in vanity. Anyway, Elysium has the umph the
Academy needs, and Iron Man 3 doesn’t seem to really be anything special. World
War Z suffers because it really only has zombies (at least that’s what it
looked like to me as I didn’t actually subject myself to it).<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Animated Short:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l21 level1 lfo19; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Get a Horse<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l21 level1 lfo19; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Room on the Broom<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l21 level1 lfo19; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Mr. Hublot<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l21 level1 lfo19; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Subconscious Password<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l21 level1 lfo19; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Missing Scarf<o:p></o:p></div>
<div class="MsoNormal">
First One In: Feral<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: I have no idea<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: Get a Horse, which preceded Frozen, is the only
one I’ve seen, and though it’s good, it’s nowhere near Flying Books from a few
years ago, still the greatest short I’ve ever seen. I don’t care about the
short categories at all, and from the way they nominate things in these 3
categories, it seems like Academy members don’t either.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Live Action Short:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l1 level1 lfo21; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Voorman Problem<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo21; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Tiger Boy<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo21; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Dva (Two)<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l1 level1 lfo21; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Kush<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l1 level1 lfo21; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Throat Song<o:p></o:p></div>
<div class="MsoNormal">
First One In: Aquel No Era Yo (That Wasn’t Me)<o:p></o:p></div>
<div class="MsoNormal">
Other Alternates: Drawing from a hat might serve you better.<o:p></o:p></div>
<div class="MsoNormal">
Thoughts: The Voorman Problem will probably win as it’s
based on part number9dream by David Mitchell (who also wrote Cloud Atlas) and
stars Martin Freeman and Tom Hollander. Other than that, see my last sentence
for Best Animated Short.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Best Documentary Short:<o:p></o:p></div>
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo20; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>The Lady in Number 6: Music
Saved My Life<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo20; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Facing Fear<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo20; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Cavedigger<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo20; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Slomo<o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo20; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt;">
</span><!--[endif]--><span dir="LTR"></span>Jujitsu-ing Reality<o:p></o:p></div>
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First One In: Karama Has No Walls; Prison Terminal: Last
Days of Private Jack Hall<o:p></o:p></div>
<div class="MsoNormal">
Other Alternate: Recollections (I have just included all of
the shortlisted shorts)<o:p></o:p></div>
<br />
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Thoughts: I really don’t have any idea what any of these are
about and will never see a single one of them.<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-59067185855226716972014-01-09T21:50:00.003-08:002015-01-05T14:23:33.019-08:00Saving Mr. Banks, Frozen, and Nebraska<div class="MsoNormal">
1/8/14:<o:p></o:p></div>
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Saving Mr. Banks:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-CB1OtwQi6sA/Us-M0LVQMuI/AAAAAAAAArw/aEyM6_T8s_8/s1600/Saving+Mr.+Banks1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-CB1OtwQi6sA/Us-M0LVQMuI/AAAAAAAAArw/aEyM6_T8s_8/s1600/Saving+Mr.+Banks1.jpg" height="320" width="215" /></a>Saving Mr. Banks is an interesting film, but not a great
one, and arguably not an important one, either.<o:p></o:p></div>
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<br /></div>
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The film follows Walt Disney’s efforts to convince P.L.
Travers to allow him to make Mary Poppins, as I think most are aware. But much
of the scenes involving the script-reading, song-singing, etc. are acted
standardly by Bradley Whitford, Jason Schwartzmann, and B.J. Novak and are
dreadfully directed by John Lee Hancock, known best for his saccharine, yet
still somehow watchable, The Blind Side. He infuses each and every scene in the
cinematic present with sugary sentimentality, which it didn’t need at all because
Kelly Marcel and Sue Smith’s script is perfectly fine just how it is where that’s
concerned.<o:p></o:p></div>
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To elaborate, Marcel and Smith’s script isn’t fantastic, but
it’s certainly strong. It may be a little sugary, but it never comes close to
being overly saccharine. Its weakness is its first third to a half are too
sparsely written. The film is also hurt because Hancock fails to create any sense
of dramatic tension.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-XXWFdu6hYX4/Us-M6j218XI/AAAAAAAAAsQ/j7Qmj80NoVI/s1600/Saving+Mr.+Banks5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-XXWFdu6hYX4/Us-M6j218XI/AAAAAAAAAsQ/j7Qmj80NoVI/s1600/Saving+Mr.+Banks5.jpg" height="212" width="320" /></a>The technical production elements of the film are quite well
done. The costuming and art direction are perfect. Thomas Newman’s score is
also fascinatingly modern for a film that takes place in the 1960s and early
1900s.<o:p></o:p></div>
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Instead, it is the scenes not directly related to Travers’
script-scrapping and conversation-recording that pack the punch and compose the
best parts of the film. This is surprisingly astute film that isn’t just about
the making of a “Hollywood classic.” It’s also, in equal measure, about guilt
and forgiveness and family and love. It’s about saving Mr. Banks, but it’s also
about saving P.L. Travers from herself, from the guilt she feels about her
father, whom she is unable to save, perhaps a major reason she feels the need
to have Mary Poppins save Mr. Banks.<o:p></o:p></div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://3.bp.blogspot.com/-7Ypn7TDzWvM/Us-M10FnXPI/AAAAAAAAAr4/SSQD_MsSjeE/s1600/Saving+Mr.+Banks2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-7Ypn7TDzWvM/Us-M10FnXPI/AAAAAAAAAr4/SSQD_MsSjeE/s1600/Saving+Mr.+Banks2.jpg" height="133" width="320" /></a></div>
The film’s quality improves gradually, and the final third
to a half is great. Much of this is due to the improving quality of the
flashbacks and the increasing number of scenes involving just Emma Thompson and
Tom Hanks.<o:p></o:p></div>
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Overall, the film is saved by the acting of Emma Thompson,
as P.L. Travers, of Tom Hanks, as Walt Disney, and of Colin Farrell, as Travers’
father. Emma Thompson is my favorite living actress. She has this natural
austerity, some might call it coldness, coupled with a remarkable ability to
show humanity and vulnerability beneath the rough exterior, and it makes her
perfectly cast as Travers. She utilizes her skills as an actress brilliantly,
managing her entire transformation wonderfully, even when the script is
somewhat lacking at her critical transformative scenes. That people don’t change
all that much is a recurring theme of the film, and she works it into her
character beautifully; she’s changed, transformed even, but she’s not a
different person than she was before.<o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-_sfSa6K6dnw/Us-M4dqCwKI/AAAAAAAAAsE/v4wG25CKU_w/s1600/Saving+Mr.+Banks4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-_sfSa6K6dnw/Us-M4dqCwKI/AAAAAAAAAsE/v4wG25CKU_w/s1600/Saving+Mr.+Banks4.jpg" height="180" width="320" /></a></div>
Tom Hanks, about whom I had qualms, fearing he was severely
miscast, is a surprise. His Disney is sweet and, more importantly, sincere in
his almost constant positivity. He has a couple of great scenes, but his scene
with Thompson in the living room about art’s healing power is easily his best.
He and Thompson share a strong chemistry, especially in the film’s second half.<o:p></o:p></div>
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Honestly, though, Colin Farrell is the unsung hero of the
film, and, for the life of me, I can’t understand why nobody, and I mean
nobody, is singing his praises. He is wonderful and sincere and, finally,
heartbreaking. He made me feel more sympathy for Mr. Banks than David Tomlinson
ever did, despite not literally portraying him.<o:p></o:p></div>
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<br /></div>
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<a href="http://3.bp.blogspot.com/-g-BBWZ_e-3Q/Us-M4Fb2KBI/AAAAAAAAAsA/13bWIOQE89w/s1600/Saving+Mr.+Banks3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://3.bp.blogspot.com/-g-BBWZ_e-3Q/Us-M4Fb2KBI/AAAAAAAAAsA/13bWIOQE89w/s1600/Saving+Mr.+Banks3.jpg" height="212" width="320" /></a>This is a decent film, perhaps even a good, but not quite a very
good one. It is a sweet film at heart that is ruined by a director who instills
enough sugary badness in movies to make them diabetic.<o:p></o:p></div>
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P.S. It’s also a great film to train yourself to watch a
movie critically. It’s full of connections between time periods to tie the film
together. On an unrelated note, it’s also interesting that the quality
improvement of the film as a whole is a rough microcosm to the gradual
improvement of Travers and Disney’s relationship.<o:p></o:p></div>
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76/100<br />
<br />
<br /></div>
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1/9/14:<o:p></o:p></div>
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Frozen:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-3IdtV7m-s3E/Us-NaZILoTI/AAAAAAAAAsY/ombr3DL0JHM/s1600/Frozen1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-3IdtV7m-s3E/Us-NaZILoTI/AAAAAAAAAsY/ombr3DL0JHM/s1600/Frozen1.jpg" height="320" width="215" /></a>This film is pure joy, plain and simple.<o:p></o:p></div>
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The film, written by Jennifer Lee, Chris Buck, and Shane
Morris and based on Hans Christian Andersen’s fairy tale <i>The Snow Queen</i>,
follows Elsa and Anna, the princesses of Arendelle. Elsa, however, has been
gifted with the ability to create ice and snow, but it’s also a curse she
struggles to control. When their parents die, Elsa is crowned, but her powers
get the best of her and she retreats into self-imposed exile, simultaneously
creating universal winter. Anna has to go get her to restore summer. True love
and all that good stuff are also involved, as per typical Disney.<o:p></o:p></div>
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At face value, it’s not a groundbreaking storyline, with a
few elements beginning in a clichéd manner. The brilliance of the screenplay,
however, is in its resolution of each of these elements. Not one of the
situation resolutions is as to be expected, even the act of true love necessary
to save the heroine. In fact, this act is touching and raw (strange to say that
about any aspect of an animated film). While the script doesn’t measure up to
the height or ambition of those of 12 Years a Slave or The Wolf of Wall Street,
it makes up for it by being funny and heartfelt, two qualities that help it
become a film for both children and adults.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-XJGEUgaxDJ0/Us-NdulUfkI/AAAAAAAAAsw/l7tAPALK3mM/s1600/Frozen3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-XJGEUgaxDJ0/Us-NdulUfkI/AAAAAAAAAsw/l7tAPALK3mM/s1600/Frozen3.jpg" height="134" width="320" /></a>The animation is gorgeous and stylish and Christophe Beck’s
score adds perfectly to every moment of the film in much the same way Alan
Menken’s did in the early part of the Disney Renaissance. He will not receive
the credit he is due for two reasons. One: he is not Alan Menken. Two: the
score is overshadowed by the absolutely brilliant songs.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-ERwo0rQbmbs/Us-N6EJpT5I/AAAAAAAAAtw/XqVhwE8sTHI/s1600/Frozen8.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-ERwo0rQbmbs/Us-N6EJpT5I/AAAAAAAAAtw/XqVhwE8sTHI/s1600/Frozen8.png" height="130" width="320" /></a>Husband-wife team Robert Lopez and Kristen Anderson-Lopez
have written 8 of the best film songs in recent memory, and they will likely
win the Oscar for one of them. Let It Go is a powerful song sung by one of the
musical theater industry’s most powerful voices, Idina Menzel, and while its
message in the film itself isn’t the greatest, the basic idea of being yourself
and not letting other people get to you, is. The rest of the songs are all
unique, and all have great messages. Whether it’s that we all have things about
us that aren’t the best that make us special or that sometimes other people aren’t
all that nice, the messages are intertwined with some of the catchiest tunes.
They’re also surprisingly satisfying musically speaking.<o:p></o:p></div>
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That the film’s messages, the foremost of which is, of
course, the power of love (and also of family), do not become cumbersome is a
testament both to the screenplay and the film’s directors, Chris Buck and Jennifer
Lee, who I’m strongly considering putting on my personal ballot in the
category.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://2.bp.blogspot.com/-npo7r2ISGAk/Us-Nd6-UJtI/AAAAAAAAAs0/dJnkSR3UtzI/s1600/Frozen5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-npo7r2ISGAk/Us-Nd6-UJtI/AAAAAAAAAs0/dJnkSR3UtzI/s1600/Frozen5.jpg" height="180" width="320" /></a>The film has incredibly realistic characters and (relatively)
realistic resolutions. Its heroine is a real person as opposed to an ideal for
5-year-old girls to never living up to. Sure, she’s beautiful, but she’s spunky
and smart and socially awkward and simultaneously sure and unsure of herself. She
doesn’t end up with the most handsome guy, the “prince charming,” but with the
other guy, though I must say that this other guy has a strange ruggedness and
big-boned Scandinavian-ness that does, I assume, make his reasonably attractive.
She’s exactly what animation studios have been trying to create for probably a
decade: a strong female, a feminist, even.<o:p></o:p></div>
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</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-jaZptX_hbMg/Us-NgIHUriI/AAAAAAAAAtA/VuvhEeinqOY/s1600/Frozen4.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-jaZptX_hbMg/Us-NgIHUriI/AAAAAAAAAtA/VuvhEeinqOY/s1600/Frozen4.jpg" height="163" style="cursor: move;" width="320" /></a></div>
<a href="http://1.bp.blogspot.com/-QKiCcRUPmpQ/Us-NbsVZiII/AAAAAAAAAsg/xgw1dKwO9Do/s1600/Frozen2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-QKiCcRUPmpQ/Us-NbsVZiII/AAAAAAAAAsg/xgw1dKwO9Do/s1600/Frozen2.jpg" height="170" width="320" /></a><br />
Another one of the film’s innumerable strengths is its voice
acting. As the heroine, Anna, Kristen Bell, best known as Veronica Mars, is
blessed with arguably the greatest lead female character in animated film
history (Belle (and possibly Ariel and Pocahontas) are her only real
competition), and takes full advantage of it. She is outstanding. Despite being
in an animated film, I felt as though I were almost watching her live. Every
syllable, spoken and sung, matched and resonated with her character perfectly. As
her sister, Elsa (the Snow Queen), Idina Menzel, best known as for originating
the role of Elphaba in Wicked on Broadway, is actually heartbreaking. Her singing
voice, quite frankly, is enough to have me worshipping her, but she infuses it and
her speaking voice with the same dejectedness and power and, at times, incredible
warmth she did as Elphaba. Finally, as a snowman named Olaf, Josh Gad, another
Broadway import known for originating the role in The Book of Mormon, which
also had its songs co-written by Robert Lopez, is hysterical, and, if not for
the character being a snowman, he could have been Olaf in the flesh or snow,
carrot, sticks, and coal or whatever.<o:p></o:p></div>
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<br />
This is easily the best pure Disney film since The Lion King
and arguably the most purely enjoyable and lovable Disney film ever made.</div>
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<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
95/100<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
P.S. I thought I’d include the Let It Go video just for
kicks to show the brilliance of the song and of the animation.<o:p></o:p></div>
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<iframe allowfullscreen="" frameborder="0" height="390" src="//www.youtube.com/embed/moSFlvxnbgk" width="640"></iframe></div>
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<br /></div>
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Nebraska:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-W7lN3aGNaeQ/Us-OflM5xBI/AAAAAAAAAt8/u8j__mrvPMg/s1600/Nebraska1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-W7lN3aGNaeQ/Us-OflM5xBI/AAAAAAAAAt8/u8j__mrvPMg/s1600/Nebraska1.jpg" height="320" width="205" /></a>To say I thought Nebraska was anything more than slightly below
average would be a lie. It was, at best, a disappointing film.<o:p></o:p></div>
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It’s an Alexander Payne character study of a disconnected
man. He’s done it before: 4 times actually (you could argue 5, but it’s more of
a stretch than I’m willing to make). But he co-wrote each of those films. This
time, Payne’s absence on the writing credits is probably the film’s fatal flaw.<o:p></o:p></div>
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Bob Nelson’s script about a boozy Korean War vet, who’s
travelling from Billings, MT to Lincoln, NE with his son because he believes
himself to have won a contest for $1,000,000, can’t say no to people, and can’t
wrap his head around the world that changed while he blinked, seems, more often
than not, like a lesson in how not to write a script. It wants to be witty and
personable and off-beat and under, with a wonderfully unexpected (but not
jarring) sense of warmth and with important messages about the importance and the
oddity of (extended) family, but it just isn’t. It’s rather like a Coen
brothers’ movie without both the entertaining performance of the dialogue and
without any of the characterization aspects of the dialogue.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-ayimra-437c/Us-OhIO3uaI/AAAAAAAAAuE/765JdUsaquE/s1600/Nebraska3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ayimra-437c/Us-OhIO3uaI/AAAAAAAAAuE/765JdUsaquE/s1600/Nebraska3.jpg" height="168" width="320" /></a></div>
The first two-thirds of the film is composed of scenes have
sparse, wooden dialogue with more of a sense of caricature than humanity. There
are glimpses of truth, but nothing long-lasting. Payne’s films are occasionally
chastised for mocking their subjects. Here, luckily, that isn’t an issue;
instead, there isn’t anything, character-wise, to mock.<o:p></o:p></div>
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Payne’s direction, unfortunately, mirrors some of the script’s
shortcomings. It’s fine enough, but lacks conviction of almost any kind.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://1.bp.blogspot.com/-owvas3_csBo/Us-OiCluJUI/AAAAAAAAAuM/DBey5QrObz4/s1600/Nebraska4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-owvas3_csBo/Us-OiCluJUI/AAAAAAAAAuM/DBey5QrObz4/s1600/Nebraska4.jpg" height="180" width="320" /></a>But it’s not completely bad. The film’s final act is quite a
bit better than average, very good, even, but still not great. The writing
shows some warmth toward the end, mixed with the off-kilter sense of humor so
clearly Nelson’s goal throughout. This third act provides nearly all of the
script-provided nuance of characterization.<o:p></o:p></div>
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The performances, as can be expected, suffer from the
script, but they are probably the best thing about the film as a whole. Bruce
Dern is lucky because he doesn’t speak much, especially early on, and does a
quite good job expressing his trouble and general lack of understanding. Will
Forte, who would be my favorite in the film if he was similarly silent in the
film’s opening. He does his best during this period, but is unfortunately
wooden. He loosens as the film progresses, though. June Squibb is given the
best material and delivers accordingly, adding some emotional subtlety to her
part as events progress. Her scenes in the cemetery and when returning the
compressor are her best.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<a href="http://4.bp.blogspot.com/-_YKPRFJUqsA/Us-Om79B17I/AAAAAAAAAuc/sebJcDO0F_k/s1600/Nebraska5.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/-_YKPRFJUqsA/Us-Om79B17I/AAAAAAAAAuc/sebJcDO0F_k/s1600/Nebraska5.jpg" height="213" width="320" /></a>Phedon Papamichael’s cinematography, much praised, is nothing
but standard and would be nowhere near awards talk if it weren’t in black and
white.<o:p></o:p></div>
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But it can’t save the film. Now maybe I just don’t understand
where the film is coming from because I’m only 20, but I stand by my criticism
of it. It’s a lacking film, which is really a shame because its premise had
such potential.<o:p></o:p></div>
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</div>
<div class="MsoNormal">
62/100<br />
<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com0tag:blogger.com,1999:blog-4748974671055642707.post-42885367321500520512014-01-05T17:41:00.002-08:002015-01-05T14:23:47.974-08:00The Wolf of Wall Street<div class="MsoNormal">
1/4/14:<o:p></o:p></div>
<div class="MsoNormal">
The Wolf of Wall Street:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://3.bp.blogspot.com/-CZLMRLdEWNY/UsoG17mdD6I/AAAAAAAAArE/lBYamvC2yas/s1600/Wolf+of+Wall+Street1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-CZLMRLdEWNY/UsoG17mdD6I/AAAAAAAAArE/lBYamvC2yas/s1600/Wolf+of+Wall+Street1.jpg" height="320" width="216" /></a>The Wolf of Wall Street is a terrific satire following
Jordan Belfort from his first day as a Wall Street stockbroker to a brilliant, (semi-)depraved multi-millionaire to his legal and personal downfall to his
rebirth.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I am a big fan of Martin Scorsese. I think it is all but
impossible to dislike the majority of his films (he does have some duds) unless
you are completely turned off by huge amounts of vulgarity, drug use, sexual
content, and violence. Indeed, his films can be incredibly vulgar. Previously, his
most vulgar movie probably was Casino, with 428 f-words in about 3 hours, followed
by Goodfellas with 300 in 1.5 hours and The Departed with 237 in 1.5 hours. The
Wolf of Wall Street blows all of these out of the water, making up for its
essential lack of violence with 506 in 3 hours.<o:p></o:p></div>
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<br /></div>
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But despite this monstrous number and the extensive amounts of
drug-use and (mainly) female nudity, The Wolf of Wall Street, though certainly
seeming at least somewhat depraved at times, never seems incongruous with its
vulgar elements, and even seems to require them the majority of the time. This
feat is owed completely to three elements.<o:p></o:p></div>
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Some types of films can rely on their art direction, visual effects,
or cinematography to make the film great, but a great satire must be blessed
with a great screenplay, great direction, and great performances. The Wolf of
Wall Street has all three.<o:p></o:p></div>
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Terence Winter’s (creator of Boardwalk Empire and staff
writer for The Sopranos) script is brilliant. Equal parts seriousness and hilarity,
it masterfully mixes them into a magnificently over-the-top, rarely, if ever,
farcical, film. The final act of the film works so well because the rest of it
is so satirical and not farcical. The way some of the episodes are told is
brilliant (the Lamborghini scene springs to mind).<o:p></o:p></div>
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Scorsese is rightly considered one of the best directors
ever, and he shows why here. Winter’s script, no matter how satirical, could
have become farcical if directed incorrectly. Scorsese is no stranger to
challenging projects, and directs this film brilliantly. The tone he sets throughout
is simply perfect.<o:p></o:p></div>
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Scorsese movies are almost always all about the men, and
Wolf is no different. Leonardo DiCaprio, in his fifth collaboration with
Scorsese, gives possibly his best performance ever (The Departed is the
competition). The film also could have strayed into farce if the acting had
been done incorrectly. As my statement about DiCaprio’s performance indicates,
this is not an issue. He is simply brilliant. He appears in probably 85% to 95%
of the film, and completely dominates it every second. He is an absolute riot (his
crawling scene is brilliance). He is always ACTING, but everything he does is
completely believable in creating a complete and surprisingly complex character.
Furthermore, his performance in the final act is startlingly powerful.<o:p></o:p></div>
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Overall, the supporting male cast is quite good, even if not truly
great. Jonah Hill, as Donnie Azoff, could surprise for an Oscar nomination, and he would be more
deserving here than he was for Moneyball, but he is nowhere near my top 10,
even. The style he chooses doesn’t work particularly well with the film, as he
seems to be underplaying many of the scenes when his usual comedic, over the top
style could have worked well, especially since he seems to be going for laughs
the entire time, strange given his simultaneous underplaying.<o:p></o:p></div>
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While Hill, despite his large amount of screentime, is
simply acceptable (sometimes slightly better), Matthew McConaughey, with just two
early scenes to his credit, is my favorite supporting male performance in the
film. I love how he has reinvented himself as an actor, and his performance
here, specifically in his second scene, is immensely entertaining. He gives great life to Mark Hanna in just about 10 minutes. It’s a case of terrific casting, but also of even going
beyond that casting to create a great performance.</div>
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The rest of the male supporting cast is pretty good across
the board. Rob Reiner is pretty funny in his first scene but is unfortunately
subdued the rest of his screentime. Jean Dujardin is characteristically
charming but nothing more. Kyle Chandler, who has the ability to be a great
actor, is sidelined here, just as he has been since jumping from Friday Night
Lights to films, to the law enforcement. His scene on the yacht shows shades of
his abilities, but those abilities are never again utilized.<o:p></o:p></div>
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<a href="http://3.bp.blogspot.com/-Dj5mlvIXG-4/UsoG0Sn-5eI/AAAAAAAAAq8/w__OEnf65SE/s1600/Wolf+of+Wall+Street4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Dj5mlvIXG-4/UsoG0Sn-5eI/AAAAAAAAAq8/w__OEnf65SE/s1600/Wolf+of+Wall+Street4.jpg" height="180" width="320" /></a>As with most Scorsese films, The Wolf of Wall Street treats
most of its female characters (nothing more than appearances, really) as
objects for male lust and sexual use. Just as with most other Scorsese film,
too, there are a few (sometimes just one) female character(s) that could be
considered, in some way, strong and/or complex women (i.e. Lorraine Bracco’s
character in Goodfellas and Vera Farmiga’s in The Departed). Margot Robbie
portrays Wolf’s, Naomi Lapaglia, very well. She’s stunning but definitely not
stupid, and aware of both. Robbie gives her depth, and while she doesn’t
necessarily build upon the script all that much, she makes up for it with two
great scenes: the teddy bear scene and her final scene. Joanna Lumley, as Naomi’s
aunt, Emma, is also pretty good.<o:p></o:p></div>
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With its huge runtime, a huge, but not unexpected plaudit
must be given to longtime Scorsese collaborator Thelma Schoonmaker for her
terrific editing job that makes the film feel shorter than it is (though it
still does feel long). Rodrigo Prieto also deserves credit for his
cinematography, as he finds new shots so that the film’s shots don’t become
repetitive and boring.<o:p></o:p></div>
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<a href="http://1.bp.blogspot.com/-vP7Uy9Hm6ok/UsoGxsXYW-I/AAAAAAAAAqo/0Ib5GPqi_ZE/s1600/Wolf+of+Wall+Street3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-vP7Uy9Hm6ok/UsoGxsXYW-I/AAAAAAAAAqo/0Ib5GPqi_ZE/s1600/Wolf+of+Wall+Street3.jpg" height="180" width="320" /></a>All of the criticism about how it’s condoning the sort of
behavior exhibited by the protagonists is absurd. The only worry is uneducated
and/or unintelligent people who see the film thinking getting the wrong idea
about investment. The argument that more about the victims should have been
shown is equally ridiculous. This film is timely because the recession has made
victims of millions of people, so many have experienced, be it first- or second-hand,
the potential devastation of these terrible practices. No, the film is about
exactly what it should have been about: the outrageous extravagance, selfishness,
and power of the stockbrokers, nothing more than that and nothing less.<o:p></o:p></div>
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This is a brilliant satire and a monumentally entertaining
affair that succeeds extraordinarily well.<o:p></o:p></div>
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94/100<o:p></o:p></div>
Michael Patisonhttp://www.blogger.com/profile/03660402132708891205noreply@blogger.com2