Tag Archives: Danny Boyle

[Review] – Intruders

24 Apr

Title: Intruders
Year: 2012
Director: Juan Carlos Fresnadillo
Writers: Nicolás Casariego and Jaime Marques
Starring: Clive Owen, Carice van Houten, Daniel Brühl, Pilar López de Ayala, Ella Purnell, Kerry Fox, Izán Corchero
MPAA Rating: R, terror, horror violence, some sexuality/nudity and language
Runtime: 100 min
IMDb Rating: 5.3
Rotten Tomatoes: 33%
Metacritic: 45

Juan Carlos Fresnadillo is the Spanish filmmaker who made 28 Weeks Later, which though obviously not as great as Danny Boyle‘s film from which it spawned, was still a terrific sequel and a really solid horror flick that showed Mr. Fresnadillo was a director who definitely knew how to craft a really effective atmosphere and deliver some strong direction. That had me looking forward to his next film, not necessarily excited about it, but I wanted to see what this guy did next. So I went into Intruders with some hopes and expectations, and found that through the first half hour or forty minutes those expectations were actually holding up quite nicely, but then the film just fell apart and became a totally generic horror film with scares that weren’t scary at all.

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2 May

Title: Hanna
Joe Wright
Writers: Seth Lochhead and David Farr, based on a story by Seth Lochhead
Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander, Olivia Williams, Jason Flemyng, Jessica Barden
MPAA Rating: 
PG-13, intense sequences of violence and action, some sexual material and language
111 min
Major Awards: –

IMDb Rating: 
Rotten Tomatoes: 

I had some pretty supreme expectations going into Hanna. First of all, it was directed by Joe Wright, the man who has given us both Pride & Prejudice and Atonement, two pretty much perfect films that had two stellar performances from Keira Knightley, and this time around even though Ms. Knightley wasn’t around he recruited seventeen-year-old Saoirse Ronan, whom he directed to an Oscar nomination in Atonement, to play the leading role of a teenage assassin. And, secondly, the cast was truly awesome, not only was Saoirse Ronan involved, who I think is one of the probably three best young actresses out there, but so were Eric Bana, Cate Blanchett and Olivia Williams, who are all sorts of amazing themselves.

The story’s pretty great really, a terrific screenplay crafted by first-timers Seth Lochhead and David Farr from a story by Mr. Lochhead that had attracted the likes of Danny Boyle and Alfonso Cuarón before Mr. Wright was given the reigns of the project. And that’s really why I loved Hanna so much, because this was a pretty unique and refreshing take on the revenge thriller genre, and because it showed that Mr. Wright, who was known mostly for the performances he directed in thoughtfully-paced period films, was also quite adept at crafting some pretty damn thrilling action sequences, while losing none of his touch with the performances he gets from his whole cast in this one.

Honestly, it was a surprise to see that Mr. Wright did so incredibly well at crafting such a high-octane action thriller, his movies are generally much more meditative and slow-burning, while also unequivocally beautiful, and to see him stretch himself here was a pure joy, the guy has an eye for making killing look gorgeous, and along with his usual production designer, Sarah Greenwood, the man makes a colorful statement in this genre that I’ll no doubt have a hard time forgetting, this is a true piece of art and I can’t wait to own it on blu-ray.

I honestly loved this film, I loved how a director so masterfully avoided pigeon-holing himself as a guy who only did period dramas and how he elegantly crafted a hyperactive thriller that deals with espionage and a teen girl assassin to the beat of a sublime score by The Chemical Brothers that punctuates this film’s kickass attitude. From the very get-go this film establishes how savage its titular character is, she’s seen hunting a deer in a snowy forest with a bow and later on fighting hand-to-hand with her own father. This is all part of this training her father has been given her since she was born, she’s been raised in this remote location, never seen anything else or no one else that isn’t her father, who’s been teaching her how to fight, hunt and generally survive, while imparting upon her a wide range of knowledge straight from an encyclopedia.

But even though Hanna is a very ass-kicking sort of film, it also is, at its very core, a coming-of-age story, one that may have all this beautifully stylized action and that amazing and gorgeous long tracking shot we’ve come to expect from Mr. Wright by now, but one that is all about the characters, because really the talent of the actors behind them makes us care a whole lot about their predicament.

And even though Ms. Ronan here is acting alongside Mr. Bana and Ms. Blanchett (who I consider to be one of the five best living actresses) she’s the real reason to praise the acting of this film. We knew she was immensely talented from her work in Atonement, of course, and she proved that she wasn’t a one-hit-wonder by being the best thing (along with Stanley Tucci) in The Lovely Bones, and was great in this year’s very good The Way Back. She is honestly stunning here, this is a very different role for her, and would be a truly challenging one for any actor, and yet she completely owns it, and more than stands her ground in her scenes along these acting greats, this is a young woman who will have us talking about her talent for years to come, and I’m beyond myself with how much joy that gives me.

But anyways, back to the story at hand, Hanna’s father was training her to become this perfect little assassin. And so it happens that he used to work for the CIA, and that the two of them have been living in isolation all this time for a good reason, and that’s that they are both wanted by the government. So when Hanna herself decides that her training is over and a life in isolation is no longer the right call we see what happens when she lets herself be found, and as soon as she comes on the grid of Marissa Wiegler, the CIA agent who wants her and her father captured and who’s played by Ms. Blanchett, the hunt for her begins, and we see just what happens when the first to come after her approach her as though she was this little girl who had been shut away from society for her whole life. That first scene in which we get to see what Hanna is capable of is beautifully done, choreographed to perfection and rhythmically punctuated by beats from the aforementioned score by The Chemical Brothers which really gives this film a great feel.

And so Hanna, alone, is thrusted into the real world, that which she hand’t known except from what her father read to her. And it’s awesome to see her experience this world for the first time, the film at times turning into a road movie in which we get to see her in Morocco, Spain and with her father in Berlin, as well as meeting this sort of new-age English family on vacation in Morocco who help her out a bit, and who’s teenage daughter becomes the first friend of Hanna’s life.

And even though a lot of Hanna is kind of predictable and formulaic, and even takes some of its cues and feel from fairy tales, it’s never not fun, and Mr. Wright really does have a knack for crafting an enthralling film and getting superb performances from his whole cast. And I’ll take this final moment to once again praise the talents of Ms. Ronan, she’s on-screen for pretty much the whole film and it’s her intensity, as well as how she seems to wear her heart on her sleeve quite a lot, that make her more than capable of carrying this film to greatness. With Hanna Mr. Wright demonstrates that no matter the genre he’s more than capable himself of delivering a truly sensational film, full of his stylized visuals that are so often breathtaking and that show us why he’s one of the most interesting filmmakers working today, just a job really well done here.

Grade: A-

Oscar Predictions: Best Picture and Director

25 Feb

This is the last of my Oscar Predictions posts, in which I tackle the two main races: Best Director and, of course, Best Picture. These two races will see Sunday’s two main players pitted against each other, with The Social Network and The King’s Speech considered the front-runners for both categories.

Most are saying they will split the two, with the British biopic getting the big one, and David Fincher nabbing the Best Director statue for his work on the Facebook film. Some are saying The King’s Speech will get both, some say the same of The Social Network, so yes, there’s a nice variety of ways these two races could go. Read on through for my opinions.



  • Black Swan (Mike Medavoy, Brian Oliver and Scott Franklin)
  • The Fighter (David Hoberman, Todd Lieberman and Mark Wahlberg)
  • Inception (Emma Thomas and Christopher Nolan)
  • The Kids Are All Right (Gary Gilbert, Jeffrey Levy-Hinte and Celine Rattray)
  • The King’s Speech (Iain Canning, Emile Sherman and Gareth Unwin)
  • 127 Hours (Christian Colson, Danny Boyle and John Smithson)
  • The Social Network (Scott Rudin, Dana Brunetti, Michael De Luca and Ceán Chaffin)
  • Toy Story 3 (Darla K. Anderson)
  • True Grit (Scott Rudin, Ethan Coen and Joel Coen)
  • Winter’s Bone (Anne Rosselini and Alix Madigan-Yorkin)

So, The King’s Speech or The Social Network? How this race has evolved has been the highlight of the 2010 awards season to me, The Social Network seemed unstoppable early on, winning every critic’s group award, the Golden Globe, nothing seemed to stand in its way to get the big one come Oscar night.

But then Harvey Weinstein came up with The King’s Speech and that one started killing it, winning the PGA, DGA, SAG, BAFTA, pretty much every single big award it could after that initial Social Network streak, and it’s now considered the clear front-runner.

This is obviously a question of new versus old. The tough, gritty, relevant and modern The Social Network, acted out by up-and-coming actors, a film in which there’s really no hero, no one to root for. And it’s standing against The King’s Speech, the sort of movie Oscar used to love, a biopic about the British monarchy, made by many veteran actors and which definitely tugs at the voters heartstrings with the warm relationship and message at the heart of the film.

My personal pick is actually Black Swan, but amongst these two I love The Social Network the most, I mean, to base a film on Facebook is daring enough, but to have the end product by this masterful, no one really saw that coming.

I’m gonna go and say The King’s Speech will win this one because it seems like it will, even though The Social Network is the better film. But don’t write out The Social Network just yet, it may seem like it’s all said and done, but a last minute revival may occur.

Should Win: Black Swan
Will Win: The King’s Speech



  • Darren Aronofsky (for Black Swan)
  • Joel Coen & Ethan Coen (for True Grit)
  • David Fincher (for The Social Network)
  • Tom Hooper (for The King’s Speech)
  • David O. Russell (for The Fighter

In my mind there should be a tie between Darren Aronofsky and David Fincher, the two are masters of their craft, and yeah, they should split the golden man up between the two.

But in all honesty, this one’s David Fincher’s. Even if The King’s Speech sweeps the night I think this one will still go to The Social Network. I mean, if a film about a social networking site and the story behind it was as compelling and intriguing and plain out entertaining as this was it’s because of how this man handled the material, sheer perfection.

Should Win: Darren Aronofsky/David Fincher
Will Win: David Fincher

Oscar Predictions: Best Original and Adapted Screenplays

24 Feb

In my seventh Oscar Predictions post I will examine the state of both writing races, the Best Original Screenplay and Best Adapted Screenplay ones, who seem to both have pretty clear-cut winners already.



  • 127 Hours (Danny Boyle and Simon Beaufoy)
  • The Social Network (Aaron Sorkin)
  • Toy Story 3 (Michael Arndt)
  • True Grit (Joel Coen and Ethan Coen)
  • Winter’s Bone (Debra Granik and Anne Rosellini)

Any other year and Toy Story 3 would have had a really solid chance, and it really would have been nice to see an animated film be the winner of a screenplay category, but the script Aaron Sorkin penned for The Social Network is shoulders above anything in contention this year, and there’s no way it’s losing this one.

Should Win: The Social Network
Will Win: The Social Network



  • Another Year (Mike Leigh)
  • The Fighter (Scott Silver, Paul Tamasy and Eric Johnson)
  • Inception (Christopher Nolan)
  • The Kids Are All Right (Lisa Cholodenko and Stuart Blumberg)
  • The King’s Speech (David Seidler)

This category is full of exemplary screenplays, even though it’s insane to me that the Black Swan screenplay wasn’t nominated. The King’s Speech is all but guaranteed to take this one, but boy would I really love an upset at the hands of Lisa Cholodenko and Stuart Blumberg.

Should Win: The Kids Are All Right
Will Win: The King’s Speech

Oscar Nominations: My Reactions

25 Jan

The Oscar nominations were announced bright and early this morning. And while most of the nominees were predictable, there were still quite a bit of storylines to take out of the morning’s announcements.

Firstly, of course, the outrageous snub of Christopher Nolan in the Best Director category, Inception might have made the Best Picture ballot and Mr. Nolan himself got his second career Screenplay nod, but the Academy yet again failed to mention him for Best Director to make room for the Coen brothers. Another snub was The Town, which ended up with a sole Oscar nomination and got snubbed in the Best Picture as well as Director and Screenplay races, the films nominated instead were still quite deserving, but still, too little love bestowed on such a great film.

Then, on a far more positive note, this was also the year in which films that came out of Sundance came out strong at the Oscars, which is terrific news for the independent film business, The Kids Are All Right and Winter’s Bone both got 4 nominations in major races, Animal Kingdom got a Best Supporting Actress bid, and four out of the five Best Documentary nominees were shown in Park City a year ago.

As for what the nominations will mean come the big night on February 27th, well, The King’s Speech certainly got a huge boost today, scoring an even dozen nominations, the most out of any film this year. That has some people jumping from The Social Network‘s bandwagon into the one driven by Harvey Weinstein, since for the last several decades the movie with the most nominations has won the Best Picture race 75% of the time. Now, let’s play statistics for a while here, I actually still think The Social Network will still win this for now, but the stock on The King’s Speech has certainly risen in the last few weeks. First, of course, was Saturday’s PGA win, and considering that association has bestowed its award to the eventual Best Picture winner 13 out of the last 20 years it means it has the odds going for it.

But then again, lets not forget just how much The Social Network has going for itself, it pretty much swooped the Critic’s groups awards, including big wins at the Globes and the National Board of Review. Not to mention that David Fincher is the clear front-runner to win not only the Best Director Oscar, but the DGA honors that will be announced on Saturday. And really, the Best Director winner is always considered the likely victor of the big race and, in fact, the winner of the DGA award has actually went on to have their film win the Best Picture Oscar 33 times in the last 40 years.

So, who really has the advantage? I honestly don’t know, this really is one seriously tough race to call, and I won’t call it until all the remained precursors are done with. Yes, the DGA will most likely go to The Social Network, but then the BAFTAs will presumably be all over The King’s Speech considering it’s a home-grown film. The PGA win by Tom Hooper’s film was big, yes, but so were the many Critic’s Associations and Globes wins by David Fincher’s movie. So, if I may interject, I think that the one awards show that may be a big indicator as to what will happen on Oscar night will be the SAGs, taking place this coming Sunday.

Hear me out for a while, the SAG obviously doesn’t have a Best Picture award, but rather a Best Ensemble one, meaning it will honor the combined acting performances of the cast in a film. And while I still think that the front-runner for that one is The Fighter (which has four seriously spectacular performances), I can see an upset happening courtesy of The King’s Speech. The Social Network won’t win that one, it has some great performances but it can’t compete acting-wise with those two other films, so that race will be the one to prove just how much support The King’s Speech has. And if it wins that one, then I probably will update my predictions and consider it the front-runner for the Oscar, because, remember, the SAGs have many times served as indicators of Oscar upsets, I’m obviously referring to 1998, when the SAG went to Shakespeare in Love, the same film that went on to win the Best Picture Oscar over the clear favorite, Saving Private Ryan, and most recently in 2005, when Crash ended up with the SAG win and ended up upsetting Brokeback Mountain for the Academy’s top honor.

So yes, this will be a Best Picture race for the ages, one I’m really excited for and one that will come down to the very end. Will The King’s Speech end up with the win? Consolidating itself as the biggest Oscar bait there ever was in 2010, a biopic about British monarchy counting with excellent performances all around and a spectacular director working form a brilliant script. Or, will The Social Network prevail? The film with very young up-and-coming actors, directed by a director that started out working on music videos and then went on to create some of the most masterful and popular films of the last decade and a half, one about a modern phenomenon and full of quick-witted, very fast and talkative scenes. It will be a New School vs. Old School battle to the very end, the historical dramas have fared very well in the past, I’m thinking Gandhi or The English Patient, but as of late, with winners like The Hurt Locker and No Country for Old Men, it feels as though the Academy is skewing more towards films oriented to younger audiences with a more gritty sort of feel. We’re in for one very entertaining race to the finish line.

But enough about the big race, I’m sure we’ll talk much more about that in the near future, but for now let us revise all the nominations announced by the Academy today.


  • 127 Hours
  • Black Swan
  • The Fighter
  • Inception
  • The Kids Are All Right
  • The King’s Speech
  • The Social Network
  • Toy Story 3
  • True Grit
  • Winter’s Bone

All the usual suspects here. I went 9 for 10 as far as my predictions go, considering Winter’s Bone felt the love from the Academy big time today and crept into the big party, throwing out my original prediction for the tenth slot: The Town. Again, as for who will actually win it, I have no idea, it’s a big split between The Social Network and The King’s Speech, and we’ll have a clearer idea of the state of the race once the remaining precursors are all said and done.


  • Darren Aronofsky (for Black Swan)
  • Ethan Coen and Joel Coen (for True Grit)
  • David Fincher (for The Social Network)
  • Tom Hooper (for The King’s Speech)
  • David O. Russell (for The Fighter)

I went 4 for 5 in this one, considering I predicted the horribly snubbed Christopher Nolan to be invited to the party instead of the Coen brothers. However, True Grit got a massive ten nominations and the love went to the genius brothers instead. Which was well deserved, but it’s ridiculous that Nolan doesn’t have a Best Director nomination to his name yet. However, massive kudos to Darren Aronofsky for finally getting his first career nomination for helming what to me was the best film of 2010.


  • Javier Bardem (for Biutiful)
  • Jeff Bridges (for True Grit)
  • Jesse Eisenberg (for The Social Network)
  • Colin Firth (for The King’s Speech)
  • James Franco (for 127 Hours)

Went a perfect 5-for-5 in this race, correctly predicting Javier Bardem’s nomination over Get Low‘s Robert Duvall. Still, Bardem’s nomination was much deserved, and it was awesome to see a foreign language performance getting a nod here. However, this has never been a race, the golden man probably has Colin Firth’s name engraved from this very moment.


  • Annette Bening (for The Kids Are All Right)
  • Nicole Kidman (for Rabbit Hole)
  • Jennifer Lawrence (for Winter’s Bone)
  • Natalie Portman (for Black Swan)
  • Michelle Williams (for Blue Valentine)

Another category in which I went 5-for-5 in my predictions. And it really is a lovely bunch of ladies getting nominated here, Michelle Williams got her extremely deserved nomination for her beautiful work in Blue Valentine and Jennifer Lawrence capped off her breakthrough year with an invite to Hollywood’s biggest party. This is, though, still a Portman vs. Bening battle, and even though I think Portman has the edge because hers was the better performance in the better film, I’ll wait until the SAGs are done on Sunday to call her a lock.


  • Christian Bale (for The Fighter)
  • John Hawkes (for Winter’s Bone)
  • Jeremy Renner (for The Town)
  • Mark Ruffalo (for The Kids Are All Right)
  • Geoffrey Rush (for The King’s Speech)

I predicted four out of the five here, the one I got wrong was Andrew Garfield who I thought would firmly land a nod but was bumped off by John Hawkes who was riding on the huge love given to Winter’s Bone here. Still, this is no contest, it’s Bale’s to lose, and he just won’t.


  • Amy Adams (for The Fighter)
  • Helena Bonham Carter (for The King’s Speech)
  • Melissa Leo (for The Fighter)
  • Hailee Steinfeld (for True Grit)
  • Jacki Weaver (for Animal Kingdom)

I’ve always said this was my favorite race of the year, and even though my personal #2 pick, Mila Kunis, was left out, it really still is. I said that if Hailee Steinfeld remained here and wasn’t voted as Lead, then either Ms. Kunis or Jacki Weaver would get the boot, I picked Kunis in my predictions but apparently the Academy really loved the Australian crime saga and wanted to give it a nod, as they should have, really. Still, this is the best race there can be this year, considering I could see any of these ladies potentially winning. Amy Adams was my personal favorite of the year, and she gives her best performance yet, and considering it’s her third nomination they may (and hopefully will!) give it to her. Helena Bonham Carter may find herself winning if The King’s Speech sweeps. Melissa Leo is the current favorite, and if she wins the SAG on Sunday then this will be hers. Hailee Steinfeld carries True Grit and the voters may like to reward a young one. And Jacki Weaver created one seriously compelling character here, though considering she missed out at the SAG I think she’s the less likely to end up winning.


  • Another Year (written by Mike Leigh)
  • The Fighter (written by Scott Silver, Paul Tamasy and Eric Johnson)
  • Inception (written by Christopher Nolan)
  • The Kids Are All Right (written by Lisa Cholodenko and Stuart Blumberg)
  • The King’s Speech (written by David Seidler)

I went 4 for 5 in this one, and the one I missed was the one that pains me the most not to see here which was the beautiful Black Swan screenplay, which I had in favor of Another Year, but I guess you can never count Mike Leigh out of this race, he’s just that good. As for who will win it, I would very much like to see The Kids Are All Right pick this one up, or if not then Christopher Nolan as a sort of apology from the Academy for not even nominating him for Best Director. But, most likely, this one will end up firmly in the hands of David Seidler.


  • 127 Hours (written by Danny Boyle and Simon Beaufoy, based on the book by Aron Ralston)
  • The Social Network (written by Aaron Sorkin, based on the book by Ben Mezrich)
  • Toy Story 3 (written by Michael Arndt, based on the story by John Lasseter, Andrew Stanton and Lee Unkrich)
  • True Grit (written by Ethan Coen and Joel Coen, based on the novel by Charles Portis)
  • Winter’s Bone (written by Debra Granik and Anne Rosellini, based on the novel by Daniel Woodrell)

As I said in my predictions, Winter’s Bone was going to put up a fight to be honored in this category. In my predictions I had The Town listed instead of Debra Granik’s film, but, as I’ve already said, the Academy shout-out the Ben Affleck film outside of Jeremy Renner’s nod, so no love here either. I like Debra Granik’s script better though (had it 6th in my Best Screenplays of 2010 list, while The Town was 15th), so I’m happy about it. Still, there’s no way Aaron Sorkin is losing this one, but then again I said the same thing about Jason Reitman and Sheldon Turner’s script for Up in the Air last year.


  • Alice in Wonderland
  • Harry Potter and the Deathly Hallows: Part I
  • Inception
  • True Grit
  • The King’s Speech

Very very good bunch of nominees here, the only film I could have seen making the cut and still be happy about it would have been Shutter Island, but nevertheless, this will be a very cool race. I’m hoping Inception will prevail here, though Alice in Wonderland may have something to say about that and, if it turns out to be a sweep, so may The King’s Speech.


  • Black Swan
  • Inception
  • The King’s Speech
  • The Social Network
  • True Grit

If I would have to guess, I’d say True Grit will win this one. However, it was amazing to see Black Swan get listed here, though I would have liked to see The King’s Speech miss out on this race in favor of the wonderful job by the 127 Hours guys.


  • Alice in Wonderland
  • Io Sono l’Amore
  • The King’s Speech
  • The Tempest
  • True Grit

As I said in my review for The Tempest, you can never count any Julie Taymor film out of the Best Costume Design race (all four of her films have now been nominated), but still, this one will most likely go to Alice in Wonderland. Cool to see Io Sono l’Amore get a nod here, too.


  • 127 Hours
  • Black Swan
  • The Fighter
  • The King’s Speech
  • The Social Network

Out of the technical categories, Best Editing is the one that foretells the Best Picture winner the most, so this one is one we should pay close attention to. Since the award was introduced nearly eight decades ago, only nine films have won Best Picture without being nominated here. Which I guess also goes to explain why Crash trumped over Brokeback Mountain. But still, the two Best Picture front-runners are here, so seeing who wins may be decisive as to who takes Best Picture. My vote goes to The Social Network here, and I still can’t fathom why Inception wasn’t named.


  • Barney’s Version
  • The Way Back
  • The Wolfman

They failed to recognize Alice in Wonderland in this one somehow, so I’m guessing this one’s definitely The Wolfman‘s.


  • 127 Hours (composed by A.R. Rahman)
  • Inception (composed by Hans Zimmer)
  • The Social Network (composed by Trent Reznor and Atticus Ross)
  • The King’s Speech (composed by Alexandre Desplat)
  • How to Train Your Dragon (composed by John Powell)

Usual suspects in this one. Awesome to see Reznor and Ross up for this one, and they’re definitely my favorites to end up picking the award. However, Alexandre Desplat gets his fourth nomination with this one and still hasn’t won, so if The King’s Speech ends up owning the show he could win. However, Hans Zimmer’s score for Inception, which is all sorts of mind-blowing, may end up getting the win if the Academy feels it didn’t bestow enough nominations love towards the film, he hasn’t won an Oscar since The Lion King in 1995, despite being nominated 6 additional times since.


  • If I Rise (from 127 Hours)
  • Coming Home (from Country Strong)
  • I See the Light (from Tangled)
  • We Belong Together (from Toy Story 3)

I honestly don’t know who will end up with the win here. All I know is that I’m happy no songs from Burlesque were named here.


  • Inception
  • The King’s Speech
  • Salt
  • The Social Network
  • True Grit

This is the one category that had most prediction experts baffled. Everyone predicted a maximum of 11 nominations for The King’s Speech, and this is the one nobody imagined, and the one that showed us just how much the Academy loved the film. As strange as it may sound, a Sound nomination is what really let us know that it was the front-runner.


  • Inception
  • Toy Story 3
  • TRON: Legacy
  • True Grit
  • Unstoppable

I really liked seeing TRON: Legacy here, and I was sure that The Social Network would get a nod here, but out of nowhere came Unstoppable and made the cut. Still, a cool and eclectic bunch.


  • Alice in Wonderland
  • Harry Potter and the Deathly Hallows: Part I
  • Hereafter
  • Inception
  • Iron Man 2

I expected TRON: Legacy to make the cut here, but at least it got a Sound Editing nod so it didn’t go unmentioned. Still, if Inception loses this race the Oscars will have lost all credibility to me.


  • Biutiful (from Mexico)
  • Dogtooth (from Greece)
  • In a Better World (from Denmark)
  • Incendies (from Canada)
  • Outside the Law (from Algeria)

This one’s always very tough to predict. But hopefully Biutiful will end up with the trophy.


  • How to Train Your Dragon
  • L’Illusionniste
  • Toy Story 3

This one isn’t a race at all, Toy Story 3 will win this one hands down.


  • Exit Through the Gift Shop
  • Inside Job
  • Gasland
  • Waste Land
  • Restrepo

No Waiting for Superman? Yeah, very very weird. Same with the lack of Client 9: The Rise and Fall of Eliot Spitzer. Still Inside Job would be a very cool winner, as would be Exit Through the Gift Shop, especially if we somehow get a Banksy appearance.

OscarWatch: Best Picture

24 Jan

Since the Academy Award nominations will be announced bright and early Tuesday morning (!) I thought I’d do seven OscarWatch posts for the main races: Screenplay (encompassing both Original and Adapted), Supporting Actor, Supporting Actress, Lead Actor, Lead Actress, Director and Picture.

In them I’ll detail my thoughts on the given race and how I think things are starting to shape up considering we have now seen most of the precursor awards and count with BAFTA and SAG nominations. I’ll give my personal Top 20, with a brief paragraph on each, for any given race and detail which I think will be the nominees for the Oscars come Tuesday. And in the very final pre-nominations OscarWatch post we’ll of course tackle…

Best Picture

I’ll give my Top 20 picks for the best films in all of 2010, my brief thoughts on each and then I’ll say how I think the Oscar nominations for the category will look once they’re announced on Tuesday.

As for the state of the race, well, it’s a two-way race here. The precursors gave huge momentum to The Social Network, as did its win and mini-sweep at the Globes last week. However, yesterday The King’s Speech won the Producers Guild Award, and considering it will most certainly win the BAFTA, and will have a very decent shot at the Best Ensemble SAG award this really is a two-horse race, and a very very entertaining one at that.

Personal Top 20

  1. Black Swan – My favorite film of the year by heaps and bounds, a true masterpiece, directed by one of Hollywood’s most ambitious and perfectionists minds, featuring a handful of exceptional performances and just nailing every single frame.This is intense and passionate filmamaking at its very best, and were it up to me it would win absolutely everything.
  2. The Social Network – This is being heralded as the film of a generation. And as huge a statement as that may seem, it’s really kinda sorta on the money. A film about the phenomenon that’s consuming huge amounts of time of our lives, directed to perfection by a guy who can’t seem to do a bad thing and who started directing music videos, bolstering sensational performances by a cast full of up and coming actors, and with a script full of words and witty remarks. This really is the film of a generation.
  3. Inception This was the popcorn film that was actually stimulating, the smartest film of the year directed by the visionary we have all embraced like crazy into our lives. This was the one everyone talked about even months after its release, the one that when released on home video showed us just how awesome a blu-ray can really be, the one that had some seriously amazing performances and a very emotional story in the midst of all its visual spectacle. True innovative filmmaking.
  4. Blue Valentine The rawest, most emotional film experience I had in all last year. Bolstered by two pitch-perfect performances by Ryan Gosling and Michelle Williams, this film showed how quick love can start, and how quick it can all end. It’s portrayal of a crumbling marriage is a very powerful thing to watch, the actors putting everything on the line, masterful stuff all around.
  5. The Kids Are All Right – This one has superb performances around the board, and tells a very contemporary story about family which we can all relate to in one way or another. Beautifully written, directed and acted, The Kids Are All Right was one of the best films of year just because of that, but it became even better when you realized just how much the writers knew their wine.
  6. Somewhere – Sofia Coppola’s back at it again, coming back to the stuff she’s comfortable with, and directing a quiet and gorgeous film. One which takes quite a bit from her own experiences as the daughter of a big star, and has her exploring celebrity like few directors can.
  7. Never Let Me Go – And I’ll say it one final time in these OscarWatch posts, this was, to me, the most underappreciated film of 2010 by a fair amount. Capturing the style and essence of the Kazuo Ishiguro novel it was based on was going to be a tough task for anyone to accomplish, and yet Mark Romanek did so splendidly, directing Carey Mulligan, Andrew Garfield and Keira Knightley to beautiful performances.
  8. Scott Pilgrim vs. the World – A truly original film, one that captures to perfection the style and flair of the graphic novels I love so much and that found in Edgar Wright the perfect director to convey the precious little life of Scott Pilgrim, and in Michael Cera the perfect guy to bring the character to life. This one goes by really fast, with its stunning visuals and cool one-liners, and every last second of it is pure bliss.
  9. Toy Story 3 There hasn’t been an official confirmation that this will be the last Toy Story film. But if it is, it’s probably the most graceful conclusion to any trilogy ever, coming full circle, full of memorable moments, of huge laughs, of meaningful tears. A beautiful film that ranks amongst Pixar’s best.
  10. 127 Hours A really powerful film, this one is. James Franco delivering the best performance of his career for director Danny Boyle, who entrusted him with portraying Aron Ralston, the real life man who was trapped when a boulder crashed his arm in a Utah canyon. The result is really breathtaking, with a stunning performance by Mr. Franco, sharp directing and writing by Mr. Boyle and some really gorgeous cinematography.
  11. True Grit – The Coen brothers are at it again with True Grit, continuing the ridiculous string of stunning films. They also have a wonderful cast full of amazing veterans in Jeff Bridges, Matt Damon and Josh Brolin and found in Hailee Steinfeld one of 2010’s coolest new stars, who clearly has a very bright future in front of her. If you liked Intolerable Cruelty, and manage to ignore that underwhelming The Ladykillers then you just might say the have a perfect body of work.
  12. Winter’s Bone – Debra Granik creates a very bleak and somber atmosphere for her film about the Ozarks, and found in Jennifer Lawrence the perfect actress to bring Ree to life, and carry and bring a speck of hope to the film. This is a real starmaking turn from her, and what lies in her future is just amazing to think about.
  13. The Town – The film that proved to us that Ben Affleck really is a fantastic director. A film that was extremely entertaining and full of spot-on performances by a cast that included Mr. Affleck himself, as well as Jeremy Renner, Rebecca Hall, Jon Hamm, Pete Postlethwaite, Blake Lively and Chris Cooper.
  14. The King’s Speech – If you exclude Black Swan this is the best-acted film of all 2010, the sort of thing you can write “Oscar bait” on, everyone delivering some truly masterful performances, directed by Tom Hooper from a fantastic script. If Black Swan was a very polarizing film, this is one I cannot see anyone not really falling in love with, if anything just because of how amazing Colin Firth is in it.
  15. The Fighter – Yes, this is another rather predictable boxing film, but the real-life story and people in it make it a very very compelling family tale. This is not a boxing film with a human story in it, but a human story with boxing in it. The performances here are just amazing, with Amy Adams, Melissa Leo, Christian Bale and Mark Wahlberg all doing wonders with their characters.
  16. Let Me In – The fact that this film ended up being nearly as perfect as the original Swedish one is the biggest compliment one could give it. This is the perfect definition of a good remake, one that never once tries to lose the essence of the original, but that adds enough spice of its own to separate itself from it in order to be judged on its own.
  17. Greenberg – Noah Baumbach yet again delivers a darkly comic script and amazing directing chops to a small little film that deals with the intricacies of an offbeat character. That character is played by Ben Stiller in what might be the performance of his career, a nuanced portrayal that was perfect in all the best ways. Not to mention that it was also the film that introduced us to Greta Gerwig, and she’s all sorts of lovely.
  18. Kick-Ass – A very fun film to watch, one that honors its graphic novel roots, isn’t afraid to show a cursing thirteen-year-old or hugely graphic and gnarly violence. This really is a treat for the eyes, one that has Nicolas Cage in full-on spectacle mode being awesome, and in Chloë Moretz one of the best finds of the year.
  19. Animal Kingdom – The stunning portrayal of the Australian criminal underground world. The performances here are just stunning to watch develop, the script is really clever and the film is just intensely plotted and structured to deliver a really thrilling ride.
  20. Biutiful – This is a very powerful film, one that’s many times hard to watch, but one that’s extremely rewarding to watch as well. Bursting to life by a beautifully raw performance by Javier Bardem and confident filmmaking by Alejandro González Iñárritu, it’s strong stuff, but compelling, too, and one that will have you leaving the theater and really thinking deep about what you just saw.

How I Think the Oscar Nominations Will Look Like (in alphabetical order)

  • 127 Hours
  • Black Swan
  • Inception
  • The Fighter
  • The Kids Are All Right
  • The King’s Speech
  • The Social Network
  • The Town
  • Toy Story 3
  • True Grit

The Town and 127 Hours are the wildcards for me here. The other 8 I think are guaranteed to score an invite to the big race. I named both The Town and 127 Hours as hypothetical candidates, but I could actually see either one of them being bumped off the shortlist in favor of Winter’s Bone, we shall wait and see what happens Tuesday morning.

OscarWatch: Best Director

24 Jan

Since the Academy Award nominations will be announced bright and early Tuesday morning (!) I thought I’d do seven OscarWatch posts for the main races: Screenplay (encompassing both Original and Adapted), Supporting Actor, Supporting Actress, Lead Actor, Lead Actress, Director and Picture.

In them I’ll detail my thoughts on the given race and how I think things are starting to shape up considering we have now seen most of the precursor awards and count with BAFTA and SAG nominations. I’ll give my personal Top 20, with a brief paragraph on each, for any given race and detail which I think will be the nominees for the Oscars come Tuesday. In this post I’ll tackle…

Best Director

I’ll give my Top 20 picks for best job at directing a film in 2010, my brief thoughts on each and then I’ll say how I think the Oscar nominations for the category will look once they’re announced on Tuesday.

As for the state of the race, I actually would stop calling it a race at all anymore. This award, no matter the outcome of the Best Picture one, will end up in David Fincher’s hands for sure.

Personal Top 20

  1. Darren Aronofsky (for Black Swan) – Yes, the award will go to David Fincher, but Darren Aronofsky is my personal pick for an inch. And that’s because Black Swan was my favorite film of the year by so much more than an inch. This is a masterpiece, a magnificent triumph in filmmaking, and Darren Aronofsky did a perfect job handling the reigns of it.
  2. David Fincher (for The Social Network) – David Fincher is the real deal, you look at his filmography and the titled you see are spellbinding: Fight Club, Se7en, The Curious Case of Benjamin Button, Zodiac. This is a guy who has made some of the definitive films of the last decade and a half, and this may just be his crowning achievement, just an amazing job by him.
  3. Christopher Nolan (for Inception) – The smartest film of all 2010, the kind of film that had you really working to keep up with it, and craving a repeat viewing to see what you may have missed. This was all executed to perfection by Christopher Nolan, who also wrote the film and was in charge of making “Did it stop spinning?” one of the most asked questions of all last year.
  4. Derek Cianfrance (for Blue Valentine) – I kind of fell in love with this film when I saw it, and it had a lot to do with the two lead performances. And those performances were directed to perfection by Derek Cianfrance, who also co-wrote the film and crafted a gorgeous look at a painful marriage.
  5. Edgar Wright (for Scott Pilgrim vs. the World) – I’m a massive fanboy of Edgar Wright, and I’m also a massive fanboy of the Scott Pilgrim graphic novels. When I first heard he was the one to be put in charge of bringing them to life I thought that if anyone was to succeed at that task it was probably going to be him. And sure enough, he created one of the most original and fun films of 2010 with a marked imprint of his very unique vision.
  6. Lisa Cholodenko (for The Kids Are All Right) – This is a wonderful film and it the woman handling the reigns, and also the one who co-wrote it, is at ease here, exploring very complex human emotions and situations. An exemplary piece of work.
  7. Joel Coen & Ethan Coen (for True Grit) – I’m starting to think there should be a campaign to name the Coen brothers the definitive American filmmakers of our time. They always tackle very different topics, eras, and genres, and they always produce work of the highest of qualities. Here they go forth an make a western, the genre you’d never suspect would fit to their artistic sensibilities, and yet the wonderful language of the book they adapted, as well as the perfect group of actors they got made it look easy for them to craft a seriously great film.
  8. Tom Hooper (for The King’s Speech) – This is probably the most prestigious film of 2010. Everyone loves it, it marries to perfection the historical biopic film aspects with mass appealing themes, and it has Tom Hooper sitting firmly on the director’s chair, working with a bunch of very talented and recognized thespians. He did a truly amazing job here, and if Fincher wasn’t such a lock to win the Oscar I’d call Mr. Hooper his biggest threat.
  9. Sofia Coppola (for Somewhere) – I’ll forever be a lover of everything Sofia Coppola does. And Somewhere is no exception, coming back from the larger scaled Marie Antoinette to return to the quiet, patient and beautifully observant films she does so well. Marie Antoinette was actually pretty amazing, but this is a return to her comfort zone, to where her aesthetic lies and where she can excel at telling small but beautiful stories.
  10. Ben Affleck (for The Town) – Here was the film that confirmed to everyone that Ben Affleck as a director is most certainly the real deal and not a one-hit-wonder who got lucky with the sublime Gone Baby Gone. He directs an all-star cast to some spectacular performances (I gave five of the film’s performances mentions in previos OscarWatch posts, including the one Mr. Affleck gave himself), and creates a bank heist movie that feels really fresh and doesn’t abuse any of the many genre clichés that would have been so easily to fall into for any lesser talented filmmakers.
  11. Danny Boyle (for 127 Hours) Slumdog Millionaire, his Oscar-winning previous effort, was going to be a tough act to follow. And Danny Boyle traded the very busy and loud streets of Mumbai and its many characters for a canyon in Utah in which his single character would be trapped for most of the film. And it paid off tremendously, with Mr. Boyle adding a very different and yet equally deserving film to his outstanding resumé.
  12. Debra Granik (for Winter’s Bone) – This was one very very cool cinematic experience for me in 2010, and how Debra Granik portrayed this very tough and very real region of the U.S. was just impeccable. Anchored by some awesome performances from breakout star Jennifer Lawrence and John Hawkes this was just a sensation film.
  13. Mark Romanek (for Never Let Me Go) – The music video director went back to feature films for the first time since One Hour Photo, and the result is the film that I have been calling the most underappreciated movie of 2010 in pretty much every OscarWatch post yet. This really was a beautiful adaptation of the Kazuo Ishiguro novel, full of pitch-perfect performances and able to create a very unique and fitting mood.
  14. Lee Unkrich (for Toy Story 3) – Pixar keeps its perfect streak alive with Toy Story 3, as the film managed to tell a story about growing up, about the blows life may deal us with, about friendship and love. It had huge laughs, great adventures, tearful moments, and everything else one could have wished for.
  15. David O. Russell (for The Fighter) – I loved The Fighter, and a lot of it had to with how David O. Russell chose to tell this story. Not using the many familiar themes and motifs that were available to huge extents, but using them as a backbone to tell a story that we all knew how it would end and still making it exciting and getting amazing performances from every single member of his cast.
  16. Mike Leigh (for Another Year) – There’s probably not a single living director who’s better at exploring the human psychology during everyday tasks than Mike Leigh. And Another Year is another prime example of why that is, this is just one very very good film, with a trio of awesome performances and a great overall feel.
  17. Noah Baumbach (for Greenberg) – Noah Baumbach is a guy I think can do no wrong. Greenberg is an exquisite exploration of its main character, a guy who’s not that easy to love, but who’s actually very easy to relate to and really care for. The situations created and explored by Mr. Baumbach and his cast, all of whom are uniformly excellent (especially Ben Stiller and the lovely Greta Gerwig), are just terrific to watch.
  18. Clint Eastwood (for Hereafter) – I know some people didn’t love Hereafter, but I thought it was tremendous. And that was mostly because of Mr. Eastwood, who got some very fine performances from his cast and dealth with a very interesting topic in a very interesting way. Why some people weren’t so fully on board with this film is something I won’t ever really understand.
  19. John Cameron Mitchell (for Rabbit Hole) – This was a very difficult film to really manage. And yet the result was something spectacular, with John Cameron Mitchell dealing with the hard material wonderfully, directing Nicole Kidman and Aaron Eckhart to some perfect performances in the process.
  20. Matthew Vaughn (for Kick-Ass) – Last spot in the rankings goes to Matthew Vaughn, who directed one of the funnest films in all 2010 and captured to perfection the graphic novel style of it all, crafting memorable characters and scenes, not to mention that this was what sparked Chloë Moretz’s career, so we have him to thank for that.

How I Think the Oscar Nominations Will Look Like (in alphabetical order)

  • Darren Aronofsky (for Black Swan)
  • David Fincher (for The Social Network)
  • Tom Hooper (for The King’s Speech)
  • Christopher Nolan (for Inception)
  • David O. Russell (for The Fighter)

I think Aronofsky, Fincher, Hooper and Nolan are all 100% sewn up to get nominations. And the fifth slot is a battle between David O. Russell and the Coen brothers for True Grit, but with the latest precursors indicating that the former holds the advantage in that square-off.