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It’s hard to believe but I’m putting together my top ten even later than last year. Again I had hoped to catch up on some movies I missed, but yet again that barely happened. But truthfully this time there weren’t that many I feel like I missed the boat on by skipping.

2008 wasn’t a great year. I’d say it continues a trend starting in 2006, the year Brian and Jared started this project and the early first discussions among the four of us. 2006 had a strong crop of great movies (The Departed, Children of Men, Pan’s Labyrinth). 2007 had a handful of great films (Knocked Up, Hairspray) but a much larger group of very good films (Once, Mr. Brooks). 2008 had few great or very good films, but a huge chunk of merely good films. My top five were easy to pick. The next three became fairly obvious. But literally two dozen films vied for those final two slots. On the one hand, that’s a nice group of films in contention. On the other hand, all are flawed and wouldn’t have come close to my top ten in previous years.

Enough rambling, on with the list!

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1. 4 Months, 3 Weeks and 2 Days.  A rare film that left me feeling like I had experienced something, although it wasn’t a very pleasant something. Writer/director Christian Mungiu explores abortion in 1980s Romania, where the procedure, along with many other freedoms, are restricted under a Communist regime. Anamaria Marinca and Laura Vasiliu play college roommates Otilia and Gabita. When the latter becomes pregnant, the former helps her find a doctor to perform an abortion and sets up the particulars. It’s a night full of unsavory characters and dirty hotel rooms. Otilia also must balance her duties caring for her friend with commitments to her boyfriend (where “I need to help Gabita get an abortion” will not suffice as an excuse).

The subject matter is tough and bleak. Mungiu’s stylistic choices are always fascinating but never distracting. His shots run for minutes at a time, often with the camera remaining still and the subjects moving throughout the frame. One scene where Gabita sits down to dine with her boyfriend’s family lasts a very uncomfortable, unbroken ten minutes. It’s a technique nearly identical to the one used in the only other recent Romanian film I’ve seen, 12:08 East of Bucharest. Romanian cinema is said to be undergoing a renaissance; can a reader let me know if this is part of the new Romanian style?

The abortion scenes are extraordinarily graphic and brutally realist although not needlessly lurid. I wouldn’t say it contains any politics and I suspect most viewers will feel the movie supports whatever abortion views they had going in. I know that months later I find several images from this film deeply affecting.

4 Months won the Palme d’Or at Cannes in 2007 but failed to make even the Foreign Language shortlist. The outcry surely factored into the Academy’s decision to alter that category’s nomination procedures for 2008. A short qualifying run made it eligible for the 2007 Oscars – and both Marinca and Vasiliu would have been very deserving nominees in the Lead and Supporting categories, respectively – but didn’t get a real commercial US release until 2008. It is a true masterpiece, but one I have no intent of viewing again soon.

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2. The Dark Knight. We’ve discussed this movie a lot around here, but I keep coming back to the same thought: The Dark Knight is like someone wrote a superhero movie just for me. It has the genre’s requisite action sequences, humorous sidekicks, sleek gadgets, and scheming villains but with a complexity and dark edge that one rarely sees in films, let alone in a genre flick. This truly got to me in parts, helped of course by Heath Ledger’s legendary performance, and made it gave me points to ponder leaving the theater. Those are qualities I love to find in any film of any genre.

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3. The Wrestler. I fully enjoyed this film when I saw it initially but I’ve found it has risen in my esteem even further over subsequent months. At its heart it’s such a simple story so well told of people whose peaks are far behind them and whose only glories will never be achieved again. Mickey Rourke’s baring performance is incredible (and I remind you that the dude cut himself for real in those wrestling scenes and that is bad ass) while Marisa Tomei is her usual sparkling self. And nomination snub be damned, can you think of a song that so perfectly encapsulated its film like Bruce Springsteen’s title song over the credits? The fade to black and the first strums of that song are just so perfect.

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4. Milk. Who knew a formulaic Oscar-bait genre pic could be so good? It tells the story a remarkable subject and does so incredibly well. Milk manages to be a message movie without becoming overly preachy and it maintains an over-arching narrative without straying too far into the classic biopic “tick the box” feel. Director Gus Van Sant gives it an intense feel of time and place, transporting the viewer into the middle of tumultuous 1970s San Francisco. And perhaps most notably it is full of terrific performances, not just from the incomparable Oscar winner Sean Penn but also supporting players Josh Brolin, James Franco, and Emile Hirsch.

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5. Dear Zachary: A Letter to a Son About His Father. The last few years have seen some incredible documentaries where filmmakers happened to be filming what would have been a rather pedestrian film just to capture an incredible turn of events (think King of Kong). Here, when his friend Dr Andrew Bagby was murdered in 2001, director Kurt Kuenne decided to make a film about his deceased friend. A noble subject to be sure, but probably one that results in an intensely personal and not widely-seen final product. But Andrew’s ex-girlfriend and suspected killer, Shirley Turner, fled to her native Newfoundland where she announced she was pregnant with Andrew’s child. Kuenne’s film turned into a film for Andrew’s son, Zachary, to tell him about his father.

Andrew’s parents David and Kathleen move to Newfoundland to battle Shirley for custody of Zachary while the wheels of justice turn unbearably slow. The Bagbys must maintain a friendly relationship with their son’s murderer in order to see their grandson, an unthinkably painful prospect. The twists and turns continue as the courts make rulings and Shirley’s sanity appears unstable. I will not come close to revealing the film’s resolution. David and Kathleen end up becoming the main characters in this incredible story; their resolve is truly remarkable.

Dear Zachary did the festival circuit and had a short theatrical run in 2008, but I saw it on MSNBC. It may have future airings there and I would recommend checking it out if it does.

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6. Slumdog Millionaire. I wouldn’t necessarily disagree with the points Slumdog backlash devotees make. It feels mildly exploitative, the acting isn’t particularly great, and the plot strains credibility. I think for the most part it doesn’t really matter. The way the story advances through incredible chance does bother me to some extent, but I accept it as a modern fairy tale. Most fairy tales take outlandish turns. And I don’t really know how you can make a film about extreme poverty without it feeling at least somewhat exploitative unless it dwells on only the most negative aspects of human existence. The life of the poor isn’t horrible for every second of every day and it’s not necessarily glamorizing poverty to show that in a film.

Slumdog is always fascinating. The adjective that still comes into my head all these months later is “vibrant” but I’m not sure that’s quite right. I think that’s too positive a word. It is vibrant, but also brutal and nasty and dirty and raw. Maybe “pulsating” is a better word, helped with by the Oscar-winning camera work and score. I do love films where the settings feel like a major character; this was the case with my 2007 love affair with The Assassination of Jesse James and the same holds for the bustling slums of Mumbai even tough they couldn’t be further from the emptiness of the Great Plains in Jesse James. In a way I felt like I had spent two hours experiencing India. Truthfully I’m not sure Slumdog will hold up well as a Best Picture winner but it’s a pretty fantastic immersive experience with a crowd-pleasing ending.

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7. Forgetting Sarah Marshall. I always knew this would make my list, but a reviewing several months ago surprised me with how good it truly is. I think with films that depend on humor and shock value subsequent viewings will necessarily lose some of the impact. And that happened here, but by not guffawing so hard I caught how well-crafted it is. The characters are interesting, well-developed, and amusing. The jokes are taut and clever; the plot engaging. Plus it has some moments that could be considered truly classic (think Dracula musical and YOU SHALL NOT PASS!).

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8. In Bruges. I like a movie that can get to me a little and this very, very dark comedy did. Much like Sarah Marshall it depends to some extent on shock value, but even if you know what’s coming it’s still deeply engrossing and the ruminations on fate only get more fascinating. Great performances and fully-developed characters make the subject matter and strange twists and turns seem natural. The concept is a little insane (odd couple hitmen hiding in Belgium!) but the execution is spot-on to the point that it doesn’t really seem that insane.

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9. Tropic Thunder. Does this clever and funny film make writer/director Ben Stiller respectable? I mean, Zoolander was quite good too. Like the previous two films on my list I’m surprised how well it held up on a second viewing; here you take out the shock value and it’s still damn funny. Maybe even funnier. The Hollywood mockery is clever and the fake trailers that begin the movie are hilarious. The Golden Globe nod for Tom Cruise is kind of a joke, but Robert Downey Jr’s recognition surely is not. He’s an actor in blackface acting as an actor in blackface acting in a movie. And he does the DVD commentary as his character’s character. Heady!

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10. Let the Right One In. What an interesting mixture of genres. It’s a vampire movie and does have some genuinely creepy moments straight out of a good horror film. But the film’s wide appeal is clearly due to the very sweet tween romance between protagonists Oskar and Elli (the vampire). I haven’t seen Twilight but I think I can safely say that Let the Right One In beats it at its own game. The DVD subtitle controversy may have the internet up in arms, but this is a real winner no matter what subtitles you get. In fact, I’ve read comparisons of the two sets of subtitles and the new set has a few sections that are superior to the theatrical set. I think it’s rare to see a vampire movie that’s so cute.

And there were plenty of other good films this year that did something special. Most of these were in the running for the last two spots on my list. In no particular order:

I like a raunchy Apatow-style comedy with a helping of depth and insight. Or you can take something like Role Models, eschew the depth and insight, and just make it extra balls-out funny. Paul Rudd can definitely lead a film… For a great double feature of very clever and entertaining con movies, pick up The Bank Job and RockNRolla. Both are some of the most fun movies I’ve seen in some time with plots that withstand scrutiny… Speaking of fun films, Gran Torino is not what I would call a good movie by any stretch but hell if it isn’t ridiculously entertaining. It thrives on Clint Eastwood’s hilariously fun and over-the-top performance.

Don’t listen to the rest of these fools on this site, Frozen River is terrific. It’s a quiet film but it kept me tense in its portrayal of desperate poverty… Or for another wintry film to cool you down this summer, turn to David Gordon Green’s bleak but affecting drama Snow Angels, featuring good performances from Sam Rockwell and Kate Beckinsale… For something completely different, Green’s other 2008 film was the hilarious stoner comedy Pineapple Express. I think maybe the last scene was the best ending of the year… Another place to look for laughs is Get Smart, which blew my low expectations away. It’s fairly mainstream comedy but very well-done.

Is it sacrilege for me to admit Kung Fu Panda was my favorite animated film of the year? DreamWorks rose above their usual crutch of pop culture jokes to create something that’s timelessly funny and entertaining while the animation is strikingly gorgeous… HBO’s Recount dramatizes the 2000 Presidential recount farce in a way that didn’t seem too obnoxiously political. Many of the characterizations are campy fun but Laura Dern as Katherine Harris takes the cake… The Fench thriller Tell No One takes the usual genre elements and gives them a curious French stylistic twist… Have I mentioned recently how great Richard Jenkins is in The Visitor? He’s near perfection in a good film, though it lags a bit whenever he is offscreen.

And one final commendation to the first two-thirds of Hancock. It’s rare indeed for me to be so onboard with a movie so quickly and so completely. I mean, what a concept: a boozing superhero who needs a PR campaign to repair his image. Brilliant! The plot and every little story touch is so clever and entertaining while Will Smith and Jason Bateman turn in their usual terrific performances. Too bad the last third is so putrid that it irreparably damages the film. Everything that is so right about the first hour goes spectacularly wrong, as if an entirely differenent set of people made it. I don’t understand how something can be so well-crafted at the beginning and so hapharzardly awful at the end. And I’m not even talking about the big twist, which the DVD box basically spells out. It’s the resolution with its out-of-leftfield plot points and absurd logic. Without that unfortunate turn of events Hancock would have surely been near the top of this list.

On to a better 2009!

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It is easy to criticize the Academy for its choices.  Like any organization, they are going to make unpopular decisions.  And as with any vote, the most deserving person or film isn’t guaranteed victory in the least.  But part of the genesis of this project is the idea that it isn’t fair to ridicule a winner without seeing all of the other nominees.  So, we watched all the nominees.  Quixotic?  Maybe.  Fun?  Almost always.  Here’s what we thought of the Best Original Screenplay category:

Read the rest of this entry »

You know what? It’s just damned nice to see In Bruges get a little Oscar love. It’s a dark comedy that came out in February: pretty much every word in that sentence should kick it out of the running for the Oscars. Heck, a superbly reviewed flick by an admired director like Zodiac couldn’t even get any traction with a February release date and yet In Bruges sneaks into a major category (even if it is its only nomination) and picks up some Golden Globes love along the way. In a nomination morning besmirched by Dark Knight exclusions, the In Bruges nod went a long way to redeem the Academy’s reputation from the brink.

It’s been interesting going back to watch early season releases again. A year ago In Bruges shocked me and made me chortle. Revisiting a film meant to be shocking and funny usually diminishes both attributes, and it did this time, but that can have the effect of peeling back some of the immediate reactions to reveal the gold within. I had the exact same reaction when rewatching Forgetting Sarah Marshall, for what it’s worth.

If we accept that In Bruges is never going to reach that Best Picture/Director sphere just due to its nature, the Original Screenplay nod for writer/director Martin McDonagh is the most appropriate. Even conceptually this film has so much going for it: hitmen laying low in Belgium, one character’s distaste for the city while he wrestles with some serious demons, touches on themes of honor and fate. This is a film that involves not one but two protagonists entering, even orchestrating, showdowns they know will likely lead to their demise because they feel like a showdown is part of their duty. Then one man goes to kill another just to end up preventing him from committing suicide instead. And there’s a racist little person. How in the world is a movie like that supposed to work? And yet it does, splendidly.

The performances are quite terrific across the board. Ralph Fiennes was in everything this year and he’s a foul-mouthed delight here. I have to think Colin Farrell and Brendan Gleeson might have had nomination shots if the film came out in a more traditional time for Oscar contenders. Both are great and Gleeson is just amazing. I also enjoyed Clémence Poésy as Farrell’s love interest and Jordan Prentice as the little person.

Great technical work too. Pairing the traditional Irish song “Raglan Road” with the late clock tower scene works brilliantly (and a musician pal of mine loved the music playing over the final scene). It also has a lot of neat shots such as the boat ride down the canal, the final scene as it enters the Boschian hell of the film set, and the unbroken six-minute shot of Gleeson as he fields a call from Fiennes (of course he’s watching the famous opening tracking shot to Touch of Evil when the phone rings).

Anyway, In Bruges is a pretty great film that will find its way into my DVD collection eventually. And when February 22 rolls around, I think I’ll be rooting for it for the upset.

John

  1. 4 Months, 3 Weeks and 2 Days
  2. The Dark Knight
  3. Milk
  4. The Wrestler
  5. Slumdog Millionaire

Adam

  1. Dark Knight
  2. Forgetting Sarah Marshall
  3. In Bruges
  4. Doubt
  5. Slumdog Millionaire

Jared

  1. WALL-E
  2. The Reader
  3. Pineapple Express
  4. Forgetting Sarah Marshall
  5. Nick and Norah’s Infinite Playlist

Brian

  1. The Wrestler
  2. Milk
  3. WALL-E
  4. Forgetting Sarah Marshall
  5. Dark Knight

Not too much change from last time.  Adam added Doubt, John stayed the same, I added The Reader, and Brian decided to rearrange his order, plus put WALL-E in for Slumdog Millionaire.  We’re coming down the home stretch, boys and girls, just two weeks away from the big night.  We’ll be rolling out our should wins, our predictions, and we’ll wrap up our movie reviews.  Plus, don’t miss our world famous Oscar night liveblog.

Oscar nominations will be announced on January 22. We’re counting down to the big day by tackling some tough questions and spouting some mad opinions. The final topic: What is your biggest hope for the nominations?

John: Give Jenkins the Recognition He Deserves

I loved me some Richard Jenkins in The Visitor. He did so much with a fairly restrained character without ever seeming one-note or bland. The film loses a bit when it meanders to other topics and characters, but when Jenkins is on the screen it shines. His journey from detached and solitary to a man reengaging with society is entirely engrossing. He’s never showy and he nails his character’s awkwardness and slow gain in confidence. I said last year that I loved Casey Affleck in Assassination of Jesse James for making his character absolutely perfect. It’s a sentiment I extend to Richard Jenkins. Of course that’s partly a writing triumph, but a great performance is what makes it transcend into something very special. I hope voters dig far into their screener pile to find this film released months ago. At this point Jenkins is very much on the bubble and it could go either way. If his name is announced tomorrow I will be very happy.

Brian: Don’t Forget Sarah Marshall

Any love for Forgetting Sarah Marshall. A screenplay is all I really ask for, but a best song nomination wouldn’t be out of the question. Goofy, charming, and sentimental — I’m consistently surprised by the staying power of that film on my Top 5 list.

Adam: Living and Dying With Dark Knight and In Bruges

If anyone is reading this blog at all they would have recognized my love for The Dark Knight and In Bruges (in fact, I saw In Bruges for the second time the other day and it definitely held up). I would love to see TDK sweep the nomination categories as well as the awards. And, it would be nice to see In Bruges get credit for its screenplay, art direction, cinematography, and supporting acting. The art direction & cinematography nods were added to my wish list after the second viewing. The choice of locations, camera angles, and shots are actually very well done. They enhance the story and feel of the movie so subtly that you might not even notice it the first time around, but their effects can not be overstated. I also (and I can’t believe I’m saying this) agree with Brian. A nod to Forgetting Sarah Marshall would be a nice addition to screenplay and song – but I won’t hold out hope.

Jared: Just a Genuine Surprise Would be Nice

Sure, I’m rooting for some long shots to receive nominations (some of which are probably obvious, none of which I’ll be so foolish as to jinx). Most years I’d be hoping not to see certain people get nominated, but I think the only film even sniffing the Oscars that I actively disliked this go round was Synecdoche, NY (with the caveat I’ve maybe three or four movies left to see). But my biggest wish for the Oscar nominations is for my picks to be pretty wrong and to see a good amount of surprises. Part of that desire, to be sure, is the selfish wish for some added excitement to this relatively mundane Oscar season. But I also think there are many nominees who seem to be in the mix just because everyone is resigned to the fact that they should be nominees. I’d love to see some wild cards in there, some picks which really excited people. Sure, preferably they’d be nominees I’d be excited about as well, but if Synecdoche sneaks into the screenplay category and I can bash it for a few weeks, that’d be OK.

That’s it from us. Here’s hoping for some happy Grouches tomorrow morning!

Oscar nominations will be announced on January 22. We’re counting down to the big day by tackling some tough questions and spouting some mad opinions. Today’s topic: Disappointment. We’re all going to feel it in some way on Thursday morning. To help get ready for the blow, we’re predicting it now. What inclusion or exclusion on Thursday will disappoint you? How do you like that, a topic that combines both our savvy prediction skills and our impeccable opinions!

John: Adams’s Prowess Doubtful, For Once

I dig Amy Adams, I really do. I liked her a lot in Charlie Wilson’s War, Junebug, and even The Office. She really should have gotten a Best Actress nod last year for the shockingly terrific Enchanted. But she’s about to get swept up in an acting nomination wave for Doubt and that will be too bad. I had a lot of problems with the film but generally agreed with the consensus that the acting was terrific, particularly from Meryl Streep and Philip Seymour Hoffman (I think Viola Davis’s big scene was too initially puzzling for me to pay a lot of attention to her). But Adams is chirpy and one-note. Her character is pretty shallow, which may have more to do with the writing, but it also doesn’t give her much opportunity to show what she can do. She was supposed to personify the doubt in the film’s central question but I never really saw much complexity in her performance.

But if not Adams, then who, realistically? Good question. She has nominations from both the SAG and Golden Globes. I’d like to see Rosemary DeWitt from Rachel Getting Married but in the end, as long as Adams doesn’t displace Marisa Tomei I’ll be able to live with my disappointment.

And let that be the last time this blog ever speaks unkindly about Amy Adams.

Jared: If I Wasn’t Depressed Enough by The Reader, I Will be When it’s Snubbed for Best Picture

In a year of mediocrity, where movies are missing the mark by just a little bit, one movie managed to get inside my head, to the point where I was too wrecked to get up out of my seat until all the credits had rolled.  So I’ll be disappointed when I don’t hear The Reader making the cut for Best Picture.  Disappointed because I know the movie would have stood a better chance if it hadn’t received bad buzz stemming from various delays and on-set mishaps.  Disappointed because of the seemingly ineffective Oscar marketing campaign, especially when the nascent Slumdog backlash is looking for a candidate to rally behind.  And disappointed that the current climate is absolutely wrong for such a horribly depressing movie.  The Reader is a hauntingly beautiful film, in my mind undoubtedly one of the best of the year, and it is frustrating that it is going to unjustly barely miss the Oscars.

Brian: Adapted Screenplay a Disappointment All Around

My biggest disappointment will be the adapted screenplay category as a whole, especially when Benjamin Button and Frost/Nixon both get nominated for mediocre scripts. Both were unevenly paced with broadly drawn characters with little depth to them. Eric Roth’s screenplay for Button succeeded in spite of itself, to use a great Schollism, and the interplay between the hospital death bed and the story was tangential and distracting. Frost/Nixon perverted history, which makes little to no sense when you are writing about a series of television interviews that ACTUALLY HAPPENED! This wasn’t like The Queen where you could make up the dialogue and history because it all happened behind closed doors, you can compare the action in Frost/Nixon to the transcript. Since Ron Howard made Quiz Show, I thought he’d at least be able to handle a similar scenario here, but with the screenplay already written for the stage, I guess he didn’t have much to work with.

Adam: Actually, Original Screenplay Too (And Have I Mentioned I Really Liked In Bruges?)

My biggest disappointment is with the Academy as a whole (especially if The Dark Knight doesn’t get the nods it deserves). However, if we need to pick and choose, one of the bigger disappointments will be in the Original Screenplay category. The complete lack of respect for Martin McDonagh’s In Bruges script is frustrating. This movie has the most original story, some of the most interesting characters, and the best ending of any film this year. The complete snub by the Academy in exchange for films like Happy-Go-Lucky and Wall-E is embarrassing (putting hyphens in a title doesn’t make it Oscar worthy). Happy-Go-Lucky was a pointless movie that had one decent scene and shouldn’t be nominated for anything. Wall-E was a cute movie, but the main problem I have with it is its script. The plot was, by far, the weakest point. One of my fellow Grouches pointed out that if you look at Wall-E as a romantic comedy that it was the best of that genre all year. However, he later went on to admit that it was a horrible year for that genre. But does that warrant it a nomination? Disappointing… that’s what this category is.

Oscar nominations will be announced on January 22. We’re counting down to the big day by tackling some tough questions and spouting some mad opinions. Today’s topic: What bona fide long shots should get a nomination?

Adam: Give Killer In Bruges a Shot

Segueing nicely from my last post, a long shot for Best Picture that I would like to see is In Bruges. As I stated before, this was one of my favorite movies of the year and I honestly think it deserves a nod for Best Picture above Benjamin Button and Frost/Nixon. I liked Frost/Nixon, but the fact that it is even in the running for Best Picture is a testament to the Academy’s complacency with mediocrity – as long as it is in the correct genre/format. Exceptional comedies or action movies are largely ignored in favor of familiar dramas, bio pics, or period pieces. I think The Dark Knight‘s seeming lock for a Best Picture nomination is the best thing to happen to the Oscars in a number of years. The fact that it is a long shot to win, however, just underscores the trend of prepossessed b***s*** that pervades the institution as well as the awards.

Jared: It’s Great WALL-E is in the Best Picture Universe But it Should Be a Nominee

That WALL-E is even in the discussion for Best Picture is a victory of sorts. But its status as a long shot is still disheartening. Sure, I could point to its status as tied for the second-highest metacritic rating of the year or its 96% fresh on Rotten Tomatoes, better than any of the current favorites for Best Picture as evidence to how highly-regarded it is among critics. Or its 8.5 rating on imdb, good for third among 2008 releases, as evidence of its popular appeal. Certainly it would seem strange for a movie with such widespread admiration among critics and the masses to not be noticed by the Academy. (Note that almost all of the arguments in favor of The Dark Knight work as well, if not better, for WALL-E). And yet I keep coming back to the impact it had on me. No other movie this year came so close to actually taking my breath away, to leaving me slightly stunned as I took an extra second after it finished to collect my thoughts. Surely that’s what filmmaking is all about. And surely that’s what defines a best picture.

John: Can The Wrestler Stage a Comeback (From Long Shot Status)?

The Wrestler is a really terrific movie that has stayed in my head much longer than expected. It’s a simple but classic story with a great, well-developed central character. I loved Mickey Rourke and Marisa Tomei’s performances as well as Darren Aronofsky’s documentary-style visuals. For a film that has been widely admired it’s odd that it hasn’t even moved onto the bubble for Best Picture. A lot of times a film garnering wide acclaim for only its acting will falter in other aspects (think La Vie en Rose or The Last King of Scotland) but that’s certainly not the case for The Wrestler. Every time a commercial for the film comes on and that Springsteen title song plays I get chills. I wouldn’t wish to promote it over The Dark Knight but it’s a shame that it’s barely in the conversation.

We all went with Best Picture choices, so let me throw out a few acting options as well. Burn After Reading was funnier in concept than in reality (meaning I enjoy thinking back on it than I did actually watching it) but it had some really terrific acting. As far as I know no performance has been promoted over the others, potentially causing the actors to cancel each other out, but it’d be great to see one of them pick up a Supporting nod. I’d put Brad Pitt and Frances McDormand at the top, but John Malkovich, Twilda Swinton, and George Clooney were also swell.

That’s what we say. What are some genuine long shots that deserve more of a chance?

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