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23. Pirate Radio

Was looking forward to this one for awhile because, well, Richard Curtis + classic rock + Philip Seymour Hoffman?  I’m not capable of dreaming up scenarios that awesome.  It was released as The Boat That Rocked in the UK but changed in the States because, um, pirates are cool?  This was the last of the 2009 movies I watched for this list, and it took the usually reliable Netflix almost a month to get the thing to me.  But I’m happy I was able to watch it with Megan (if only because it prevented either of us from making a decision about which movie to watch).  Anyway, the trailer doesn’t do the film justice, but I’m not really sure anything could.  The film doesn’t exactly have a story, per se, just a series of humorous events with the same cast of characters in a loose timeline.  It isn’t about character development so much as having fun with the characters. And the tremendous cast which includes a bunch of Curtis stalwarts, Bill Nighy, Emma Thompson, Rhys Ifans, January Jones, and Nick Frost, Kenneth Branagh, and Jack Davenport.  Also Gemma Arterton and Talulah Riley, but we’ll get to them next post.  Just a really fun movie.

22. 2012

Speaking of fun movies!  Independence Day and The Day After Tomorrow are clearly superior, sure.  But this one is still an excellent disaster movie.  Saw this one in theaters with Brian and Zack, and I think it exactly met our amped up expectations.  The film isn’t going to sway anyone’s opinion of Roland Emmerich, I don’t think.  And yeah, we are talking about some broadly-drawn characters.  But give me a fun cast (highlighted by a hilariously bonkers Woody Harrelson), lots of stuff blowing up, and a little bit of a completely unsubtle morality play and I’ll be a happy boy.

21. The Invention of Lying

When are people going to cotton to Ricky Gervais movies?  It sure seems like they have the recipe for success.  They are funny, sweet, tell an interesting story, and have great cameos.  Just doesn’t make sense to me.  OK, I could see how the send-up of religion could be mildly offensive to some, I suppose.  And the movie did start to trail off a bit at the last third.  But come on.  What a brilliant concept.  Plus, Rob Lowe as the bad guy!

20. A Serious Man

Glancing over our thoughts on the film, seems a safe bet that this was the most thought-provoking Oscar film for the Grouches.  Heck, I reread my full recap and still have no idea what I thought (or think).  I do know that it was rather unfortunate to have A Serious Man and A Single Man come out in the same year.  Unless maybe they helped bump each other up at the box office due to mistaken viewing of the wrong film?  Even now, I struggle to come to terms with my thoughts on the film.  Which makes the movie unique in this year’s class, so that’s something.  I may not always like the Coen Bros., but their ability to consistently churn out thought-provoking films to which I have a visceral reaction is nearly unparalleled.

19. The Blind Side

Back to back Best Picture nominees!  We’ve had plenty to say about this film, including John calling the nomination (well done, John!) in our wild and crazy picks post.  Oddly, I seem to be a little lower on Sandra Bullock than my fellow Grouches, but a little higher on the film.  Maybe I’m just more in touch with my emotions than them.  I’m guessing that where they found it a little schmaltzy, I thought it consistently hit solid emotional notes.  Sometimes cliches are cliches because they work.  Did the film bring anything new to the world of moviemaking?  Probably not.  But I still think it is a very fine piece of work.

18. Away We Go

Saw this one in theater in New Jersey with my uncle and brothers.  I went back and saw John called this film “painfully contrived.”  Isn’t that any road trip movie (which this is, essentially)?  I suppose if one called this film a little too precious, I’d have a hard time disagreeing.  But I thought it had a lot of a heart and a good sense of humor.  The supporting cast is chock full of talent, including Paul Schneider and this year’s Oscar nominee Maggie Gyllenhaal.  And perhaps each supporting character is just a tad too outsized.  But I sorta thought that was the point of it all.  I dunno, I’m surprised there’s any divisiveness on this one.

17. Julie and Julia

Saw this one at Arlington Cinema and Drafthouse with Adam and Dylan as part of a two-city double feature.  Because that’s how we roll.  By the way, what’s the connection between this one and Away We Go?  Chris Messina (aka the guy who isn’t Stanley Tucci, Amy Adams, or Meryl Streep).  I kinda got the feeling that all the actors had a good time making this one, and it shows.  Don’t quite know how it worked out this way, but most of the movies in this post seem to follow the same general pattern of a fun, mostly positively movies with a few touching emotional moments that soon get swept away with humor.  Brian is still alarmingly wrong about the Julie part being better than the Julia one.

16. The Answer Man

Was among my most anticipated 2009 movies.  Why?  Hm.  I’m not entirely sure.  I really like the cast (Jeff Daniels, Lauren Graham, Olivia Thirlby, Lou Taylor Pucci, Kat Dennings, Tony Hale).  And I guess the concept just kinda appealed to me.  A lot of stuff just worked in this movie.  Jeff Daniels and Lauren Graham go really well together as the leads in this romcom.  Daniels is fantastic as the philosopher with none (and yet all) of the answers.  The misanthropic character is a familiar one, yet it doesn’t feel tired.  Like my life, needed more Kat Dennings.

15. Precious: Based on the Novel ‘Push’ by Sapphire

We’ve written a bunch on this Oscar nominee.  It surely took an unconventional Oscar path.  It was Geoffrey Fletcher’s first produced screenplay, the second film directed by Lee Daniels, and starred an overweight newcomer and a BET regular whose recent filmography includes Welcome Home, Roscoe Jenkins and Phat Girlz.  But it would have been impossible to overlook this film.  And in particular, Gabby Sidibe and Mo’Nique.  It is staggering to me how Mo’Nique outdistanced herself from the competition.  By the end, it wasn’t even a matter of concocting a path as to how someone else could win Supporting Actress, it was a matter of figuring out if there was any possible way she wouldn’t win unanimously.  So I think it says quite a lot that going up against a performance like that, Sidibe more than held her own.  I didn’t quite understand the Directing and Adapted Screenplay nominations (let’s not talk about the writing win), but I do want to make it clear that I thought the film was very very good.

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With the Oscars two months behind us, pretty much all the nominees and awards season players are finding their way to DVD. And there are so many we didn’t give full attention to here!

A few months back I highlighted critically-acclaimed films that I didn’t care for. They mostly didn’t find traction in awards season, but several more crappy movies did! And it’s so depressing to write about bad prestige films that we mostly skipped them on this blog. But no longer!

If you’re perusing the new releases on NetFlix and think, “Hey, that got nominated for some sort of Oscar, didn’t it? I should rent that,” make sure it’s not on this list or pay the price!

The Lovely Bones, 1 nomination

The deadliest of the deadly. The story follows a fourteen-year-old girl after she is murdered by a neighbor. She goes to some sort of “in-between” between Earth and heaven, where she watches as her family grieves and searches for her killer. Such a film hinges on the director’s vision for that “in-between:” what does it look like, how does she move through it, and how does she interact with those on Earth?

And all of that is awful. Peter Jackson brings out all his CG expertise to realize the in-between, which is colorful and beautiful but uninteresting and painfully literal. Even worse is how she interacts with the real world, which just comes off totally clumsy.

I loved the book when it dealt with the family’s grief, but that mostly gets pushed aside. The book’s supernatural elements really lost me; these parts were stupid enough in the book but in the film they are stupid AND confusing as they are poorly thought out and edited. I knew what was going to happen and some of it STILL came off as totally WTF. Finally, my favorite subplot, involving the girl vicariously experiencing growing up by watching her younger sister, is entirely absent.

Yes, Stanley Tucci is wonderfully creepy as the murderer. But unless you have a burning desire to check out all impressive cinematic villains, he’s not reason enough to watch. It also features another good performance by Saoirse Ronan, who we all really enjoyed a few years back in Atonement.

The Last Station, 2 nominations

I think we all agreed that if we were watching this at home we would have turned it off. It’s not as aggressively bad as The Lovely Bones, but it’s incredibly, notably tedious. Christopher Plummer and Helen Mirren play Tolstoy and his wife in the last years of his life. Tolstoy’s followers want the rights to his works willed to them to advance his philosophies; she wants to keep them in the family.

The problem here is utter lack of context. There’s never any good understanding of why people care about Tolstoy and his teachings. His philosophy as presented is vague and sounds kind of awful. There’s no reason to care about the drama and intrigue. There are spies and competing allegiances all centered around a question I couldn’t care less about, which is pretty much the worst thing that can happen in a melodrama. Plummer and Mirren chew the scenery like no one’s business.

There’s vintage newsreel footage over the final credits, including some of Tolstoy interacting with the public. These seemed interesting! Why do people like Tolstoy? What impact did he have in the world? Who are the Tolstoyans and what was their place in Russian society? That’s what I want to see, not a film that assumes I know this stuff.

Nine, 4 nominations

What a stillborn movie. I pretty much immediately forgot it after watching it. Even musicals I wasn’t particularly fond of (Moulin Rouge!, Sweeney Todd) had a spark to them. Nine is just lifeless. I’m on record as saying that plot is less important in musicals, but here the plot is so bland and entirely uninteresting. And the music isn’t even good! It has two good songs, including the Marion Cotillard number that got the Original Song nomination. That scene is so terrific and passionate, how is the rest of the movie so dull?

Also, it got a bizarre nomination for Art Direction. The musical sequences take place on a minimalist set of scaffolding in a large warehouse. It gets used in a mildly interesting way, but it’s just scaffolding! And it got nominated for an Oscar!

The Blind Side, 2 nominations & 1 win (Best Actress)

This thing is one big, mindless cliché. You know what’s going to happen going in and it delivers. I was hoping for some sort of originality but I can’t say any element has an ounce of cleverness. Sure Sandra Bullock gives a fine performance, but part of what makes her so dominant is that everything else is so weak. I don’t think it’s worth checking out just for her. Unless you like being emotionally manipulated, in which case please go ahead and see it.

It also shamefully sidelines the Michael Oher character, the black football player. He’s made one-dimensional and really deserves more.

The Young Victoria, 3 nominations & 1 win (Costume)

By no means a bad movie, but dull. It’s very nice to see a royal intrigue film where the heroine doesn’t constantly bemoan the repressions of her society and her inability to love the man she wants and instead uses the system – of which she is of course a major part – to her own benefit and to lead. Unfortunately the way it’s done here isn’t particularly compelling. It’s also pretty confusing for someone without a good knowledge of the time period. My goodness, which prime minister candidate shall the Queen support in the 1839 parliamentary elections? The pulse quickens!

Also it got a Makeup nomination so maybe you should check it out if you like Oscar-nominated hairstyling. Which of course you do.

Well, here we are. I want to make sure to say thanks to Adam, Brian, and John for joining me on this ride. I’ve got no life, so it was relatively easy for me to catch these nineteen films (plus the other contenders we saw). But I know that you all made some sacrifices to make it happen. And thanks for all the discussions (both on- and off-blog). You guys rock.

Inglourious Basterds

Adam and I tend to have fairly similar taste in movies, so it was surprising to me that we disagree so much about Inglourious Basterds. He told me he didn’t think I would like it, leading me to believe that deep down he knows the film just doesn’t work. Sure, there are stretches of brilliance: the first few minutes of the opening scene, the whipped cream scene, most of the scene at the underground bar, everything about Christoph Waltz’s character. But Tarantino appears to be a guy who needs someone to keep him in check. Just about every scene goes on too long. And the story never comes together into a cohesive unit. I admire the film’s ambition and respect Tarantino’s vision. But the film left me unmoved.

Avatar

I’m not a particularly visual person, so while I personally can’t excuse Avatar‘s script, I guess I can understand how someone might get swept up by shiny things. But I don’t understand why this logic only applies to James Cameron. Criticisms of Michael Bay movies invariably levy charges of being bloated, overly-reliant on CGI with no character development and having things blowing up nonstop. Aren’t the exact same things being said about Avatar, more or less? Adam talked about not putting mindless action flicks up for Best Picture. That’s a stance I don’t understand to begin with, and I think the Avatar nomination discredits in practice. I’ve yet to hear any sort of logical argument about how the distinction between a “fun” movies and a “good” one isn’t arbitrary. As such, I’ll continue to only rank movies based on how much I enjoy them.

An Education

Possibly one of this year’s most fun collection of actors. It is just too bad they didn’t really have much to do. Think about the memorable scenes in the movie. Molina falling under Saarsgard’s charms. Thompson arguing with Mulligan. Williams arguing with Mulligan. Pike being a ditz. The birthday party with Mulligan’s former beau. Almost all of these things have the barest of setups or followthroughs. What is Emma Thompson doing in the film, anyway? As is, shouldn’t her character just been merged with that of Olivia Williams? The point is, I buy it is the right cast, the right screenwriter, and heck, the right director. But what if you didn’t bind Nick Hornby to a set of memoirs where apparently nothing happens, instead just describing the characters and themes? I think that could have been something really tremendous. And also probably would have had an ending.

A Serious Man

I’m still amazed this film received a Best Picture nomination. Not talking about its merits, just that the film had no discernible buzz, at least that I saw. The Coens and I clearly operate on different wavelengths. Not drastically different, just enough that I don’t quite get them. Plus, I don’t think they are as funny or clever as they think they are. Their work does have a timeless quality, though. I could have seen this movie being made ten years ago or twenty years ago. And (as with almost all of their films) their work is refreshing, an oddball little piece of cinema not quite fitting in anyway. Which I can definitely appreciate. And I don’t mean to completely badmouth the film, I did find that I generally enjoyed myself, even if I still haven’t quite figured it out. Assuming there is anything to figure out, I guess.

The Blind Side

I liked this film a little more than the other Grouches. Possibly because I have a heart. Personally, I think it delivers exactly what it sets out to do. It is a big, broad movie that tugs at the heartstrings (but not too much) and ultimately leaves you feeling a little better about things. Is there anything so wrong with that? Sure, it never really tries to reach for anything higher, and that’s maybe why I didn’t fall in love it, but it is a solid, solid film. I think some of the criticisms hurled at it are kinda weak. Yes, a rich white lady helps a poor black kid. No, that doesn’t automatically mean you can toss around the phrase “white guilt”. Partially because this stuff, you know, actually happened. And I found it to be a fairly faithful adaptation of the book (other than the book’s discussion of the history of left tackle, of course). Not sure I could imagine anything better, actually. Well, except for maybe removing some of Lewis’s bias. But that’s probably a good thing.

Precious

We’ve been over the faults of this film’s script numerous times. The auxiliary characters weren’t sketched out well and the plot isn’t that interesting. What the story did do, however, was provide ample opportunity for Mo’Nique and Gabourey Sidibe to dominate all over the place. And sometimes, that’s enough. Like Avatar, oddly enough, when the film was allowed to play to its strengths, it was magical. In certain sense, the film captures drama better than anything else this year. The relationship between Sidibe and Mo’Nique is really unlike anything I’d seen on screen and while it was often hard to take, it was just so so powerful.

Up in the Air

Here’s another film I feel like I’ve unintentionally badmouthed a lot. There were lots of things I liked about Up in the Air, very few things I disliked. It was a very good film, and I’m happy it got nominated. My complaints were more about the acting nominations than anything else, I guess. And, well, not thinking that it was a great movie, because it didn’t quite get there. It was funny and dramatic and thought-provoking, just not very funny or very dramatic or very thought-provoking. Still, a smart film, Jason Reitman is crazy promising. What did I like, though? Hm. It was a fun ride throughout and rarely boring. Kept a solid pace. Made me laugh some. I don’t know, exactly. Just a well-made film.

The Hurt Locker

The dichotomy here is fascinating. $15 million grossing art house movie? Totally Oscar. Iraq war movie? Not Oscar. Cast filled with relative unknowns? Oscar. Action movie? Not Oscar. Finally rewarding a director who paid his dues? Oscar. Finally rewarding a director who paid her dues? Not Oscar. With a quality script, this film would have been something truly special. As is, it’s a fine piece of film making, and extraordinary example of how great a taut, exciting action film can be. Kinda interesting to compare to Slumdog Millionaire, in terms of a movie that didn’t make all that much money and about a topic not necessarily of general interest, and certainly wasn’t necessarily guaranteed to be here on Oscar night.

District 9

Speaking of great action films, I have no clue how District 9 ended up with an best picture nomination, but yay. Something went terribly right for that to happen, because honestly, does it seem like an Oscar movie in the least? I guess maybe if you squint. It is proof that action films can be totally riveting. Maybe next year can be comedy’s year? Nah, that’s crazy talk. Well, unless Peter Jackson produces a comedy. I guess that would be OK. Kinda rambling at this point, because the red carpet has started and Brian and Adam are arguing about something. Not sure what, but I’m sure it is ridiculous. But yes, everyone should see District 9. And be amazed at the effects, the action, and really the touching story. I know some other Oscar nominated movies about aliens the year seemed to imply that it wasn’t possible to have a great story with your alien action, but I assure you, that’s false.

Up

Yup, there’s little question that Up is the year’s best film. Pixar doesn’t make animated movies, they make movies. No need to gush about that opening sequence, because yeah, just out of this world. And I’ll be the only Grouch who likes agreeing with John. Up is consistently funny, definitely one of the funniest movies of the year. (And Adam, I’ll take the bait, yes, I laughed more at She’s Out of My League, but that’s an argument we are going to have in 2010 discussions.) But it was also one of the most exciting films, with one of the interesting stories. Just all around a fantastic movie. Never slow, never dull, always amazing. The Grouches don’t all agree on our favorite Pixar movies, but I think we all agree that at their best, no one tells stories like they do. And if you tell a story as close to perfectly as they do, well, you are going to get my vote for movie of the year.

And so it all comes down to this. This is a really terrific set of nominees. Even with the expanded category it has a better average film quality than most years. It has refreshing variety and even the selections I don’t really agree with are at least interesting. It remains to be seen how “The Ten” will affect the prestige of the Oscars in the long-term, but it was a wild success for 2009 by producing such an interesting and varied group of nominees.

Counting backwards, here is the ranked ballot I would have submitted had I been a voter.

10. The Blind Side. This is not a good movie. It’s cliched, simple, and emotionally manipulative, though it is centered with a forceful performance from Sandra Bullock. I think its biggest sin is the way Michael, the poor black football player adopted by Bullock’s character, is so poorly developed so that there’s nothing to him. But I do appreciate that people felt affected by the film and I think there’s room for mainstream drama like this in a field of ten.

9. Inglourious Basterds. Second from the bottom and we’re already at a movie I really enjoyed! This is a very good sign! Basterds is an interesting film and very entertaining. I remain committed to my assertion that I wish there was more substance to complement its style. Its scenes are tense and engrossing, but sometimes last a bit too long. A better theme or story to tie those scenes together would have made it much better so that there was more to it than just being awesome.

8. District 9. I enjoyed this film on first viewing. Its unique premise enthused me and its themes kept me thinking. I was dismayed at how much it turned into a standard action movie with unoriginal sequences by the end, however. On my second viewing I was much less bothered by the action and was impressed by all the little details built into the story and the world it creates. Very good stuff.

7. The Hurt Locker. This film clearly didn’t resonate with me the way it did so many others. I really liked it and found many of its scenes painfully suspenseful. I just didn’t find it to be the gut punch so many others did, or as so many other movies on this list did to me. I thought it didn’t come together as a whole as well as I hoped. It’s still very good, just not as good as the others.

6. A Serious Man. This is probably THE movie of 2009 that has me thinking the most. I found the story totally engrossing, even as I wasn’t understanding its point. I found myself drawn to the plot more than I expected upon second viewing. There’s something delightfully subversive about a film that revels in its sometimes-there-is-no-meaning meaning. Accept the mystery. I wouldn’t be surprised that if I revisit this list in a decade that this is the movie that moves up my list the most. I’m already looking forward to watching it again.

5. Precious. Powerful, effective, emotionally hefty. But it’s also very well-made. It really takes a talented hand to not make this film devolve into utter emotional manipulation. I enjoyed the way it’s visualized, though I know my fellow Grouches generally did not. I found the tone was balanced well enough to not make it relentlessly depressing. I’m never fond of a salvation-through-literacy plotline, but otherwise the story and characters (and acting) are uniformly terrific.

4. Up in the Air. This film really succeeds in tone and atmosphere. I have a couple problems with the plot, particularly actions by Vera Farmiga’s Alex, but they’re all overwhelmed by how deeply the film grabbed me and held me. It’s a film about what it’s like to be alive now, from the economic downturn to corporate indifference and the disconnected way we live our lives in this world. It has wonderful characters and terrific performances with some insightful writing and a story that, while not twisty, proceeds in unexpected directions.

3. Up. Here are two signs of how great this film is. In the lead-up to the Oscars there are lots of stories about the nominees. I have yet to see a clip of Up that doesn’t make me laugh. We talk a lot about the brilliant and heartbreaking Married Life montage, but the writing in this film is very strong throughout with lots of clever touches, insight, and hilarious jokes. Oh man, that Kevin just cracks me up. Second, I’ve been listening to some film scores recently and the one for Up always brings me right back to the film. And not just to the plot or the visuals, but to its heart.

2. An Education. The easiest way to explain my affection for film is to say: everything works. Carey Mulligan and Peter Sarsgaard are enchanting on screen. The script deftly develops Mulligan’s Jenny so that we understand her and therefore her desires and motivations for her actions. Then Mulligan nails every aspect of Jenny while Sarsgaard is the perfect mix of charm and creepiness. Their relationship never rings false.

1. Avatar. Yes I love the way the film looks. It’s absolutely stunning and unlike anything I’ve ever seen. But it really is more than that. So many films set out to create a universe and they almost always feel incomplete. Avatar succeeds. Everything makes sense in this universe. Rules are set and they are adhered to. The clever little details to the world come together to create a fascinating whole. And people get down on the story, but it’s a fine story. It takes an outline that has been used plenty of times before, but I think all the original details make it feel fresh. All the spiritual stuff is hogwash? Well, maybe on Earth but there are different rules on Pandora. And those elements interested me.

Avatar is an experience. A film-going milestone. I loved every second of it.

We’ll each putting up our own thoughts on Best Picture. Except now, when I’m publishing Adam’s writeup. Guess he wanted to continue his streak of not posting.

So, for the grand finale, I’ve decided to forego my previous format and write what I thought about each movie. Unfortunately for you, dear reader, none of the other Grouches have written their posts yet so I am forced to confine my analysis to the movies and my critiques of the others (if they should appear) will be constrained to hearsay and personal experience. So, without further ado, I give you The Nominees:

Precious
Throughout the year, we watch a lot of movies in preparation for the Oscars and I find that my opinion of some of these movies varies greatly from my initial impression as time goes on. As I rank the movies I’ve seen throughout the year, I constantly compare previous views to more recent ones to come up with the best possible score for each – some fall, others rise, and some stay steady throughout. Precious was definitely one of the fallen movies. I thought it was a fine movie, but realized that my initial opinion of it was artificially raised due to all the hype and praise surrounding it. As I time went on, I realized that the script wasn’t all that strong. Decent dialogue was scarce and most of the scenes were pretty blasé (with the notable exceptions of the apartment/stairs scene and the final social worker scene). Mo’Nique’s performance was terrific, granted, but Sidibe’s was, honestly, forgettable. No one will remember her performance in a year or two – if that. The directing was also fairly weak. The dream sequences were unnecessary and heavy-handed, and the other scenes were set up less than ideally. It may seem like I hated the movie, but I didn’t. I gave it a 5.8 out of 10 (though it started at a whopping 7 if you can believe it) so I didn’t think it was horrible, I just want you all to realize that the hype surrounding it is just that – hype.

An Education
An Education actually suffered the opposite fate as Precious. It actually moved up in my ranking as time went on. At first, I couldn’t get over what I viewed as a ridiculous plot. I couldn’t understand how we, the audience, were supposed to buy into the fact that a random older gentleman randomly picked up a school-girl; started to date her immediately – well, as soon as he was able to convince the girl’s very conservative and old fashioned father he was on the “up and up” via a 2 minute conversation, in which he told a joke; and convince her to quit school just shy of graduating. As time went on though, I was able to separate the weak story and horrible scene transitions, and appreciate the strengths of the film. Carey Mulligan actually puts on a pretty great performance – especially given she had very little experience prior to this. She was able to take on a leading role and make it her own. This was one of the few well written lead female characters I saw this year and it is due, in no small part, to Mulligan’s performance. The other fantastic performance was Alfred Molina’s. My respect for him (due in no small part to his role in The Man Who Knew Too Little) dropped dramatically with his part in Spider-Man 2 (one of the worst movies I’ve ever seen). However, he has totally redeemed himself by being one of the brightest spots in this movie. I am very disappointed he wasn’t nominated for Supporting Actor over Damon.

The Blind Side
The Blind Side has a higher score (6.5 out of 10) than I anticipated going into the movie. And, while the script wasn’t anything to write home about, I found myself enjoying the movie, nonetheless. Bullock does a decent job as a Southern, Tennessee-hating, heart-of-gold mother of two (then three), and her nomination for Best Actress is deserved. She was definitely the most impressive part of the movie and I am actually quite happy that she is the front-runner for the win. I have, for the most part, quite enjoyed Ms. Bullock over the years and am glad she has a chance to take home the gold. Other than that, there isn’t much to say about this movie. It is like Precious in a lot of ways – teenager with a troubled past and parental issues is taken in by a strong female character who tries to better them. The biggest difference between the two movies is the tone. While The Blind Side is, on the whole, light and fun (and has an uplifting ending), Precious is a study in just how wrong things can go in a child’s life (and that not everything has a happy ending). For whatever reason, though, I found myself enjoying The Blind Side more than Precious and more than I originally thought I would.

Avatar
As you may have realized by now, I have ordered these movies in ascending order. Which means that the second highest grossing film in history, and the film sure to take home the most amount of Oscars is only 6th on my list of Best Picture nominees. While this may seem confusing to most (I’m looking at you John), anyone who actually watched the movie (and has any taste) can tell you that this movie is over-rated by far. First of all, let’s get this out of the way: The film was absolutely visually stunning. Seriously. They did a tremendous job with the CGI and 3D scenery and sequences. Unfortunately, they stopped there. It is a beautiful façade over a weak structure. The most important part of the movie is the script. This movie’s script was decent – when it was used in Dances With Wolves, Pocahontas, and Fern Gully. If you are going to steal another movie’s idea/script (which I don’t necessarily disagree with – I mean, look at my boy Tarantino), at least improve upon it. Or, at the very least, make an attempt to change it in some way. The only thing they seem to have done is make the dialogue worse and delve less into every single one of the characters. I am actually floored that a 3+ hour movie had absolutely no character development. And don’t get me wrong, I am a huge fan of a bunch of movies with little to no plot, no character development, and awful dialogue (I mean, I watch mindless action films by the truckload), but I don’t nominate them for Best Picture. I don’t care what John tries to tell you – don’t drink the Kool-Aid on this movie. See it because it is visually stunning, not because you are looking for an actual Best Picture movie.

A Serious Man
I don’t know how Jared and John write so much. I’m not even half way through this and I’m exhausted. Major props to them. So, now on to A Serious Man. First of all, I’d like to say that I was a huge fan of the opening scene of this movie – especially once the film was over and I realized that I couldn’t figure out how it fit into the rest of the movie. Second, this movie had one of the most interesting characters of the entire year. It was fascinating for me to watch the actions and reactions of this character as we delved deeper and deeper into his mundane, depressing, and all too real existence. I am a huge fan of character studies (if done well). While this isn’t in the same league as Michael Clayton, it is a serviceable replacement for the year. It also has one of my favorite side-stories of the entire year. The scenes with the Korean student are absolutely hilarious.

Up
I’ve talked about this movie a couple of times. I can’t get over how the rest of the Grouches basically have an orgasm whenever they think or talk about it. Yes it was decent, but it wasn’t THAT good. It definitely had its moments (which is why it made it into the top 5 of contenders), but it fell well short of Pixar classics like Toy Story, Finding Nemo, and The Incredibles. The talking dog was pretty fantastic, and the little scout had some pretty great lines, but that is pretty much it. A lot of the jokes seemed forced or were predictable. The plot was weak, and the villain, one of my favorite elements of most movies, was very weak. I just couldn’t get invested in any of the characters or laugh at many of the jokes (I’d actually like to hear whether Jared thought he laughed more during Up or She’s Out of My League). I will give it this, though, the opening scene was very well done. Squirrel!

District 9
District 9 definitely had one of the most interesting takes on a tried-and-true story. Having the an alien race living in slums, cohabitating to humans, and regulated to second-class status in all things was brilliant. Telling the story in the form of a documentary (The Office style) was pretty fantastic as well. The surprisingly humorous script was augmented by and equally surprising strong cast (surprising in that it is comprised of unknowns). The reason this movie isn’t higher on my list, though, has to do with the plot. While the background and premise of the movie was original and interesting, the actual story was less than stellar. Don’t get me wrong, it’s not that I didn’t like it, it’s more that it didn’t live up to the promise of the movie’s premise. It was decent, not spectacular. I also felt it didn’t flow as well as it could in a couple of different areas, but that’s really just nit-picking. Overall, a very enjoyable movie that I recommend, and I am very glad to see it make it into the Best Picture nominees.

The Hurt Locker
This is another movie that has increase its ranking as time has gone on. I put it slightly lower on my list originally due to the lack of thought put into the overall plot of the movie. What were all those highly entertaining scenes leading up to? Who is SSG William James and why should we care about his story? However, discounting that, this was a fantastic movie. Kathryn Bigelow does a phenomenal directing job here and I very much hope her Best Director hopes are realized – she deserves it. The tension she is able to create in almost every single scene is nothing short of amazing. The bomb scenes are some of the best I’ve ever seen – due in no small part to the great camerawork. Let’s not forget about Renner either. Even though I didn’t know why I should care about him or his story, I couldn’t help but be fully engrossed in whatever he was doing due to Renner’s extremely strong performance. I seriously wish the Academy wasn’t going to hand over the Best Actor award to Jeff Bridges solely as a “Lifetime Achievement Award” because Renner far-and-away out acted Bridges this year. There is a reason this is in my top 3 of nominees. This is a terrific movie, and, had it had a better script, could have been a serious contender for my favorite movie of the year.

Up in the Air
What can I say about this movie? My fellow Grouches have, on many occasions, ridiculed this movie – its script, acting, and directing – and I can’t understand it. Not because I liked it so much (though that is an extremely valid reason in-and-of-itself), but because they all profess to like it as much or more than me. The lowest score it got between us is an 8.4. It actually has the third highest average score of any film we’ve seen this year (beaten by Zombieland and Up). That’s saying quite a bit. I thought it was great. Since Michael Clayton, my respect for Clooney has skyrocketed and I think he does a great job here. Not only that, the two female characters in this movie are both widely different but equally well written and portrayed. Kendrick and Farmiga both shine as opposite sides of the same coin (the professional woman), and complement Clooney’s character as few roles do, now-a-days. I thought the script, while not out-of-this-world, was very well done – with humorous, contemplative/deep, and sad/depressing moments sprinkled in throughout the movie. I actually also really like the directing here as well. Reitman was a very close third to Tarantino and Bigelow this year. Each gave very strong efforts this year, which were rewarded with equally strong movies. I will admit that this movie struck a nerve with its portrayal of the constantly traveling businessman (as that was my life for 2 ½ years), but even discounting that, this was a pretty great movie.

Inglourious Basterds
The Big Kahuna (and no, not Big Kahuna Burger) – nine down, one to go. Since seeing this movie, it has topped my annual Top 5 with only one other movie even coming close to toppling it (Zombieland for those keeping track). Quentin Tarantino is one of my all-time favorites and he doesn’t disappoint with this dialogue-driven, Nazi-killin’, action flick. From the first scene, Tarantino is able to fully invest the audience into his world. How many other directors/films would have such a long, dialogue-heavy opening scene? And how many people actually noticed that the scene went on for so long after the first couple of minutes of interplay between Waltz’s SS Colonel and the out-matched farmer? Tarantino’s ability to take the seemingly most inane scene and turn it into a focal point of a movie based solely on the dialogue (and underlying story) never ceases to amaze me. And he does this more than once in the movie (don’t forget that amazing bar room scene). All this is without taking into account the overall story or the wonderfully violent action scenes. Tarantino gives us a movie that is entertaining on multiple levels and does so with style (plus, he killed Hitler…come on!). If it were up to me, Basterds would receive Best Picture, Original Screenplay, Cinematography, and Film Editing along with the almost assured Best Supporting Actor for Waltz. Alas, it is not to be.

Nominees:

  • Sandra Bullock, Blind Side
  • Helen Mirren, The Last Station
  • Carey Mulligan, An Education
  • Gabourey Sidibe, Precious: Based on the Novel Push by Sapphire
  • Meryl Streep, Julie and Julia

Brian starts the discussion:

    Unlike the Best Actor category, where all the nominations made some modicum of sense, there are a couple of headscratchers here. On the other hand, I can’t really think of many other strong female lead performances from this year, so maybe its just one of those years. Perhaps I’d include Emily Blunt in here for Young Victoria, but otherwise, it was a lackluster year, unfortunately. There are two nominees that are clearly superior to the rest of the batch — and its a shame that they are not the two expected to duke it out on Sunday night.

    To dispense with those two first: Streep is the second best actress in Julie and Julia — Amy Adams shows a wider range of emotions and is the heart of the film. Streep does a fine impersonation — and is good filler for the non-Julie Powell moments — but I found myself much more caught up in the modern day love story than Julia Child’s background. Which is odd, because I’m a history dork and all. I’m more interested in Julia’s next phase of life — when she became a television star.

    Sandra Bullock is the best part of The Blind Side — but thats truly faint praise. In a bastardization of a solid, nuanced book by Michael Lewis, The Blind Side is a poor-man’s Erin Brockovich. I think Dana Stevens said it best over at Slate: this is Bullock’s “Least Objectionable Thing She’s Made in Years.” Ergo, since this may be her only shot ever at a nomination, give her the career achievement award now. Her actual acting in the movie is good — but much like the rest of the movie, its cliched and devoid of any intrigue.

    Helen Mirren was fed a filmful of Oscar-worthy scenes, and she did her usual bang-up job with them. Unfortunately, when you’re dealing with material as weak as The Last Station‘s — your performance has to transcend crap. And Mirren, this time, did not — and I’d also question her position as a leading actress on this one. If they had pushed her for supporting — I think that she’d have gotten a lot more recognition than this film — which I am still convinced that no one actually saw before nominating Mirren. Now THAT is the power of a strong brand.

    My two favorites: Mulligan and Sidibe. Carey Mulligan was brilliant as the young teen taken in by Peter Saarsgard’s creepiness. Stuck in an era when her parents (and society writ large) told her she could be a wife or a teacher, and thats it, she yearned for something more. It was a trite subject, but Mulligan expressed the highs of love and the lows of devastation with great aplomb. I cannot wait to watch what she does next.

    But my vote goes for newcomer Gabourey Sidibe. It’s hard for me to judge what she’s like in real person — and how much of her performance was “ACTING!” — but wow. I never once doubted the pain and hardship that Precious had to deal with — and watching her eventually open up and tread a path away from her current life situation was heart-wrenching. I place the success of the film’s bittersweet and ambiguous ending on Sidibe’s shoulders. Had she not been so good — I think the film would have fallen a lot flatter, with no hope and only despair for Precious’ future.

John adds his two cents

    I think too much as been said about this being a “weak” slate of actresses. It’s fine. I’d say not weaker or stronger than average with three terrific performances.

    Nothing against Helen Mirren, but without a better constructed film she’s just wailing and chewing scenery aimlessly. It’s hard to show any nuance when the material doesn’t allow it.

    The way this year has turned into The Year of Bullock is perplexing. Yes, I know she was snubbed for The Net, but is this the way we want to make up for it? The Blind Side is not a good movie though I did like Bullock’s performance in it. But I can’t help but think a lot of her support comes from playing a strongly-written character with an accent. Sure she dominates the movie, but with the other elements so underwhelming that’s pretty easy.

    Sidibe is swell in Precious and I’m really interested in seeing what she does next. Her performance is so monotone, which I know is what the role calls for, that I think it opens the door for some others to outshine her. She does a very good job of leading the film despite being a new actress and her range is impressive.

    I’m a little surprised I’m not choosing Mulligan because it’s the type of performance I’m so drawn to. It’s a restrained performance, but perfectly-crafted and we totally understand how her character could get into the mess she finds herself. She’s so enchanting on screen and can do so much with just a look. It’s true she’s helped by playing a character that’s so well-written, but she nails it.

    But I choose Meryl Streep. She’s just such a delight to watch and brings what I’d say is just the right amount of camp to the role. And it’s more than an impression; this really is a full-throated performance. We gave Morgan Freeman a tough time for (partly) adapting a South African accent and walking like Nelson Mandela. Streep shows how you play a well-known, real person and put your mark on it.

    I’m pretty perplexed by Brian’s assessment of Streep and the film. I thought I was going out on a limb by saying the Julie half of the film was not significantly inferior to the Julia half. He’s the first person I’ve ever seen assert that Julie was better. This is dumbfounding. If anything, Streep is so dominant she overshadows the rest of the film.

Adam is the charmer, as always:

    • Carey Mulligan
    • Sandra Bullock
    • Meryl Streep
    • Gabourey Sidbe
    • Helen Mirren

    Will Win: Sandra Bullock. There was a pretty big push for her throughout the Awards season and I believe it will pay off. While I don’t think this role was all that taxing, Bullock still put on an impressive performance so I’m not upset that she will win here. I’m more excited that Meryl Streep won’t win…for some reason, I just don’t like her.

    I Want to Win: Carey Mulligan. She’s beautiful. But that’s not why I want her to win (ok, that’s not the ENTIRE reason I want her to win). I had major problems with the script (e.g. plot, flow, dialogue wasn’t too bad, etc), but I will admit that despite its faults, it generated two strong performances from Alfred Molina and Mulligan. Given her less than bulky resume, she puts on a surprisingly strong performance…and she’s beautiful.

    Dark Horse: Carey Mulligan. While not out of the realm of possibility, there is little chance she would be able to overtake Ms. Streep or Ms. Bullock – much to the audience’s dismay.

    Ranking:

    Grouches Critiques: Since only Brian has written one so far, I will confine my review to him – lucky him. First off, some praise, his introductory statement is accurate enough. Actress this year was pretty weak. I have to question writers as a whole’s ability to write strong and/or good female leads. His review goes downhill from there though. I hate to say it (because I like Adams MUCH better than Streep), but Streep definitely outshone in her half of the movie. Adams’ character and storyline were, overall, quite boring. Adams played an uninteresting, selfish bitch…and not the fun kind.

    His comparison of The Blind Side to Erin Brockovich is confusing and incorrect. I have no idea what part of which is comparable. It’s much easier to compare it to Precious, in fact, though, in my opinion, neither is as great as people seem to believe. Even his review of The Last Station is off and we both disliked it. I am actually a big fan of Mirren, but while her performance most likely fit the role as written, it was a horribly written script so her performance suffered the same fate. There was not one “Oscar-worthy” scene in the entire movie. I also can’t say I agree with his view of women striving for more than being regulated to a wife/mother/teacher as a “trite” subject. Guess we’re seeing the “real” Brian.

    Finally, his conclusion is way off the mark. Don’t believe the hype , folks. Precious is not that good. Sidibre does a fine job, but ultimately there isn’t a lot of range required in the role and the script was pretty weak in both story and dialogue – and the lackluster directing didn’t help either.

    Now I can sit back and bathe in the glow Brian’s hatred of me will give off.

    Random Notes: Write better female characters Hollywood writers. There is a ton of talent out there and few good characters for them to portray.

Jared has had a little to drink and is writing at 4 in the morning:

    Finally, I get to both go last and disagree with Brian.  It is a bad call to say it was a poor year for lead actress performances.  Add Blunt and Deschanel in here, and you are hot to trot.  Relatively weak year for mainstream performances? Maybe.  But one you get into Julia and Cheri and Trucker, I’m not so convinced.  Hate to say it, but I kinda agree with John.  Probably about an average year.

    I’ve loved Sandra Bullock since Love Potion No. 9 (here’s where I totally geek out and make a Donovan Tate joke (that’s some baseball prospect humor for you!)).  I really don’t understand the Oscar love for her this year.  Thrilled that’s she’s in the running. No clue what makes this role so special.  Honestly, and I’m completely serious here, I don’t understand why she wasn’t up for an Oscar for Miss Congeniality.  I dare almost any former Oscar nominee to pull off that role. I gotta question Brian, though.  “Devoid of any intrigue?”  You read the book and know the story, dude. What intrigue were you expecting?  Oh, and the book isn’t nuanced. Sorry. Not like I needed to bring all this up. The minute you cite Slate in an argument is the minute you lose.

    And while we are ragging on Brian, I’m totally with John about Julie and Julia. Brian, you are no longer ever allowed to make fun of my appreciation of romcoms. The Julie side of the film was better? Bold statement there, boss. I heart Meryl Streep to pieces, I just think we could maybe hold back on the automatic check next to her name. Though, hey, she seems to be the only one who can get nominated for comedies. So more power to her.

    Unsurprisingly, Helen Mirren was pretty great in The Last Station.  It is unfortunate that the movie was roughly seventeen hours long. That’s how it felt at least. The unsteadiness in the script came through as Mirren’s character was not only a biatch, but sorta all over the place. Mirren salvaged it admirably, but still.  I’ll agree with Brian here (since I made the point first).  No one saw Last Station.  No one.

    Top two are really tough for me. I’ve gone back and forth numerous times. So screw it, I need to get some sleep, I’m calling it a tie between Gabourey Sidibe and Carey Mulligan.  Sidibe is all kinds of powerful asPrecious. Maybe few established actresses could have pulled it off for physical reasons, but I also think few could have so completely owned the character. Sidibe took a relatively weak script and turned the character into something magical.

    I’m madly in love with Carey Mulligan and not ashamed to admit it. No one who saw An Education should be afraid to admit it either.  Again, she took a subpar script and created a character I won’t forget for some time. Maybe she had it easier because of how attractive the character was (both inside and out). I dunno. I do know that she took a character who had been seen time and again (smart pretty girl who loses her naivete) and made it her own.

Admission time: I haven’t thought about the Oscars in more than a week. I haven’t read any movie news, I haven’t written a post, I haven’t even seen a movie. Why? The Winter Olympics, of course! And I know I’m not alone, judging by the amount of curling talk Jared and I have been doing.

But this blog has been silent, which got me to thinking about finding any damn thing to write about something to connect these two February passions.

So here we go: What if Oscar movies were Winter Olympic sports?

The Blind Side = Figure Skating: Liked by those who don’t like real sports/sports movies.

A Serious Man = Curling. Engrossing but tough to figure out.

Inglourious Basterds = Snowboarding: Flashy and entertaining

Avatar = Bobsled: Very technological and travels down a well-worn track.

Up = Ski Jumping: Short, sweet, and pretty.

Up in the Air = Short Track. Your life/race standing can be upended at any moment.

The Hurt Locker = Hockey. Burly men with lots of equipment bust some heads.

These are a big stretch you say? Yeah, well, shut up.

Well this morning the Official Mistress of the Golden Grouches (c), Anne Hathaway, announced the nominations — and there were few surprises among the acting nods, a couple shockers in the Best Picture, but overall things went according to plan. Nonetheless, we still pulled together our thoughts for a short post.

Brian: My biggest disappointment is that with Penelope Cruz’ nomination, I now have to see Nine, something that I had been avoiding doing. No real desire to see it at all, but it can’t be nearly as bad as Lovely Bones, which fortunately, did indeed garner Stanley Tucci a nomination. It would have been tragic had we had to sit through that dreck for no reason whatsoever.

With the best pictures, I was quite happy to see District 9 get the nod there and in screenplay — I held out hope for director until getting slapped in the face by Lee Daniels name being read. As Jared says below, Blind Side is the only real WTF here, and even that it’s rather pointless since it has no shot at winning. This batch of nominations also has me quite excited to see A Serious Man when it comes out on DVD next week.

Other thoughts: disappointed that Damon got nominated for the wrong role and left Molina in the dust. Happy to see Moore get snubbed for A Single Man as her role was more or less the same as Susan Sarandon’s in Lovely Bones and was less funny. I had forgotten all about In the Loop until John started his well-deserved campaign for it, and I’m happy that John got something to gloat about. By far my biggest disappointment though was Marvin Hamlisch getting crapola for The Informant. His score was such an integral character in the great movie that it deserved to win the award, not just the nod.

Looking forward to stewing over these races in the “should win” discussions — especially the screenplays. Lots to ponder. And I think the 10 films for best picture was a wild success — good job…academy?

Adam: Editor’s Note: Adam did not submit anything so I wrote it for him. Inglorious Basterds: Yay. If only It’s Complicated were nominated, then I could make fun of Brian more. I’ll find other ways.

Jared, via iPhone in the DFW airport: Most surprising to me is the relative lack of true surprises. There were some, of course, but I’d guess most Oscar prognosticators did pretty well, especially if they stayed conservative.

People will hate on The Blind Side, and sure, it probably isn’t a top ten film. However, in my opinion it is miles better than Crazy Heart, Invictus, and The Messenger, all of which now appear to have been viable contenders. Like, it just isn’t close at all. So while I would have preferred Star Trek, The Hangover, or In The Loop, I can settle for the middle ground.

I’ve heard people claim this is the wrong year for ten nominees. But you know what? This a very strong lineup, and for me, stacks up against much of this decade’s best picture groups. And really, assuming the expansion got District 9 and Up into the group, I’m fully prepared to call it a success.

I’m a little surprised we didn’t see something crazy in Supporting Actress. Sorta seems like the Academy threw its collective hands in the air and gave up. There was definitely room for another film to have made a play here. No Basterds is a surprise, I guess, but there seemed a very unWeinstein-like unfocused campaign.

Finally, the screenplay categories were a general success. My efforts to not jinx them went mostly rewarded. In the Loop getting a nomination is such a good thing. But, of course, the one nomination I really really wanted to see, (500) Days of Summer, missed. Probably at the hands of The Messenger, which I interpret as a direct, intentional, personal slap in my face.

John: Before going to bed last night I nearly made a quick post amending my earlier “biggest hopes” declarations. But I decided not to and both of those hopes came true!

I had been surprised at the amount of In the Loop predictions prognosticators were making yesterday, which gave me hope for an Adapted Screenplay nomination, whereas before I thought of it as only a longshot. But then it happened! It was my big fist pump moment of the morning. It really has made my day.

My other hope was that Cloudy With a Chance of Meatballs would get left off the Animated Feature slate in favor of some of the more interesting films that came out this year. When Coraline was announced first (nominees are announced alphabetically) it was obvious this wish had come true and it was fun to see what would take its spot. The Secret of Kells is an interesting choice, although not the one I would make.

A few other quick thoughts:

  • A boring slate of acting nominees. Very by the numbers. Penelope Cruz was a surprise, but only because her long-presumed nomination seemed derailed by Nine‘s failure.
  • No Avatar in Original Screenplay. Not a problem for most of the Grouches, but interesting that such a juggernaut would miss. 500 Days of Summer also missed and that had seemed like the indie that would break out in a writing category. I suspect not being in the picture for Best Picture hurt it.
  • Hooray for Invictus not making Best Picture even though it appears to be supplanted by the awful The Blind Side.
  • No Makeup nod for District 9 despite the film’s heavy use of prosthetics. Instead the aging makeup for Il Divo and the hairstyles of The Young Victoria get in, along side Star Trek.
  • No Score nod for The Informant! excludes that gem of a film completely.
  • I’m generally happy with the Best Song slate. Thankfully “See You” from Avatar was left off.

Oscar nominations will be announced on February 2. We’re counting down to the big day by offering some hard-hitting analysis and incisive opinions on the toughest questions surrounding the nominees.  One of the great things about nomination morning is that it never fails to surprise.  What strange stuff could we see tomorrow morning?

John:

The Blind Side gets a Best Picture nomination.

Clint Eastwood gets a Best Director nomination instead of Lee Daniels.

“The Weary Kind” from Crazy Heart is left off the Original Song list.

Jared:

Oscar sometimes moves in chunks.  So, Crazy Heart picks up a Best Picture nomination, and Maggie Gyllenhaal gets a Best Supporting Actress.

Or, similarly, The Messenger picks up a Best Picture, and Samantha Morton gets a Supporting Actress.

Finally, Nine gets a Best Picture nomination.

Oscar nominations will be announced on February 2. We’re counting down to the big day by offering some hard-hitting analysis and incisive opinions on the toughest questions surrounding the nominees. While no one know for sure what will happen on Tuesday, some nominees are a foregone conclusion. Which lock for a nomination is undeserved?

John: Voters Blind Sided by Bullock

This has been a good year in that I don’t see any real egregious locks. The silly nominations I see coming, like those for Invictus, I wouldn’t really call locks. So let me highlight a few performances that have been on the track to nominations since their films were released. Neither are bad performances and perhaps both are even deserving of nominations. I have trouble understanding how so many people saw these films and immediately thought, “This is so good she’s absolutely sure to get a nomination!”

The first is Sandra Bullock in The Blind Side. I think this is a combination of a name actress who hasn’t received much awards attention in her career, a Southern accent, a big character, and a late-year release date. If any of these components change, does this performance become a lock? It’s a good performance helped by a script that give her lots to work with, but the assumed inevitability of a nomination is puzzling.

The other is Anna Kendrick in Up in the Air. This is a performance I have mixed feelings about. All of her physical acting is terrific: the way she carries herself, her facial expressions, her stiff seriousness. But the way she sort of spits out her lines drives me nuts and that was hard to get past, at least on the first viewing. I just don’t think people talk like that, even the uptight, self-serious ones. I left the theater thinking, “that’s what everyone’s been so ecstatic about?”

To be fair, she’s sharing the screen with two terrific performances from George Clooney and Vera Farmiga and maybe I was just wowed by their excellence!

Both Bullock and Kendrick will get nominated; Bullock may win and Kendrick is probably the only one who can knock off Mo’Nique. And the nominations won’t be wrong, necessarily. I just have a hard time seeing the hype.

Adam: Shouldn’t a Best Picture Actually Be, You Know, Good?

One word – Avatar. Don’t get me wrong, I think this was an enjoyable movie. But Best Picture good? I think not. Let’s look at it’s pros: visually beautiful, moves along pretty well (even for a 3 hour movie) … not much else. Cons: no attempt to re-engineer/better a stolen script/story, no character development (in a 3 hour movie), very weak dialogue, ridiculous scenes (not involving explosions). How can a movie that fails in a majority of the areas that make up a FILM let alone a GREAT film be the front-runner for Best Picture?

For all of those out there that use the advancing technology/3D/movie-going experience argument I have two words for you – Jurassic Park. Back in 1993, Spielberg and company revolutionized the CGI industry and how audiences view movies. Not only that, he did it with a pretty entertaining movie. One reason for this was good material (Michael Crichton’s novel), but also the ability to adapt it reasonably well to the silver screen. After all of that, Jurassic Park won 3 Oscars, but wasn’t even nominated for Best Picture. And I think that that was the right call. It didn’t deserve a nomination – and neither does Avatar.

For those of you who want to use the dollars argument, I submit Dark Knight. Last year, Dark Knight made more money in a single day then any other movie in history and went on to make more money than most of the films ever made. Not only that, it was a phenomenal movie and easily the best one last year. Fantastic writing, beautiful scenes, decent dialogue and one of the best villain portrayals ever. With all of that, it didn’t even get a nomination for Best Picture.

So, I submit to you, how is it that a film like Avatar gets a nomination for Best Picture?

Jared: Full of Hot Air

Hm.  Adam took Avatar, I already addressed Invictus, and if I say anything bad about Inglourious Basterds, I think Adam will probably hurt me (though it really isn’t a good movie).  Not sure any other locks make me too angry.  But I will admit to not quite understanding why Up in the Air is receiving plaudits for its acting.  Don’t get me wrong, I love me some George Clooney.  But isn’t his Ryan Bingham just the same thing he always does?  A charming, in-charge guy who needs to be humbled a little bit (but not too much, because he gets his way in the end), and who draws easy comparisons to Clooney himself?  I’m OK with Bingham as a character, but I think that’s due to the writing, and I could see a bunch of people doing justice to that role.  And maybe I’m wrong, but sure seems that one (if not both) of Vera Farmiga and Anna Kendrick are locks as well.  Which I don’t get at all, both roles didn’t appear to be particularly challenging and serve more as mirrors for Bingham than anything else.  Just seems to me that the sheen of the movie is unduly rubbing off on these ladies.

Brian: Avatar Doesn’t Score

Since John is incapable of originality and is once again piggybacking on Jared, I will decline writing about Vera Farmiga’s bewildering lock status. Avatar is the low-hanging fruit when it comes to the Best Picture category, so it jibes that Adam would have gone there; I always look forward to his brutal take-downs. After struggling a bit to find another true lock that I found baffling, I came back around to Avatar, but for musical score.

If I’m coming out of an epic, big, bombastic picture like Avatar, I need to be humming the score as I leave the theater for it to be impactful enough for an Oscar nom. The score is such an integral part of these films that if you name me a commercially and critically successful epic — I can most likely hum the main theme — and thats how it should be. I find James Horner’s work to be uneven — I loved his scores to Enemy at the Gates, A Beautiful Mind, and Apollo 13 — and his work for Avatar was sub-par. Inspiring motifs here or there, but overall bland and forgettable. Perhaps I am being unfair to Horner, since the key to a great score is if it matches the tone of the film — and since I found Avatar to be superficial and derivative — it makes sense that I thought the same about the score. Should Horner be recognized and Marvin Hamlisch be left in the cold for his flighty composition for The Informant, I will be upset.

I considered writing about Lee Daniels’ heavy-handed and distracting direction of Precious, but I think there’s a enough of a chance that he gets pushed out for another director that I didn’t deem him enough of a lock. If he gets the nomination, however, you’ll hear plenty from me on my frustration with him.

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