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The Grouches got a sneak peek at Never Let Me Go, director Mark Romanek’s first effort since One Hour Photo. The film did the festival circuit and opened last weekend in New York and LA to very good business. It will expand throughout the country in coming weeks.

Never Let Me Go
stars Carey Mulligan, Keira Knightley, and Andrew Garfield as friends who grew up together at an English boarding school. But this school has a sinister purpose. How will that affect the three companions as they move into adulthood?

John

I accidentally stumbled upon the film’s secret before seeing it. That made me quite mad as I thought it ruined the film for me. But the secret turned out not to be a big revelation. In fact, it’s essentially the premise of the film and explained rather early. We won’t spoil it for you here, but I imagine the secret of the school will appear in plenty of reviews as simply a plot point. Don’t be too concerned about getting spoiled.

I really like the idea of a twisty film laying out its big secret at the beginning and letting the film be about the characters living through the secret instead of building up to a shock revelation at the end. For instance, what if there was a sequel to The Sixth Sense? What would Bruce Willis do with his time now that he knows he is dead? It could be interesting.

But Never Let Me Go isn’t. It wastes its premise by not doing anything with it. I could see it moving in several directions. It could have become a plot-driven thriller, like how Children of Men took its premise of a world without childen and spun it into an action film. It could have used its premise to explore deeper themes, like examining what it means to be human or drawing a corollary to real world issues. Instead, Never Let Me Go gives us a tepid love triangle and an understated plot that’s hard to care about because the characters are under-developed. We barely even learn what the characters think about their predicament.

I’ll address too responses to this film that I’ve heard frequently. One is, why didn’t they just run away? This actually didn’t bother me as there must be some pretty intense psychological factors at play when one knows one’s fate from an early age. But I’m only surmising because the film doesn’t explain. It probably should have because it could have been a fascinating topic to explore. Two is that the film left viewer cold and I’d have to agree. I didn’t really care what happened to the characters, especially in their love lives.

Carey Mulligan is great, but I think its only Oscar hope is in Score. It’s beautifully shot but I think it either requires more flair or it needs to be a better movie to be recognized in visual categories.

Jared

I really want to compare Never Let Me Go to another film, but doing so would reveal the inner workings of this film’s plot, and as John mentions, we aren’t going there here. Even though I don’t entirely understand his reluctance, as I don’t really see any way to spoil this movie.

The lightly dips its toes into a number of genres while delicately avoiding any semblance of a coherent story. I could be wrong, but I believe I caught one of the characters reading a Virginia Woolf novel. I’ve done my best to put aside the painful memories I have of reading her work, but one thing I distinctly remember from To the Lighthouse was a particular insistence on focusing not on plot, where chapters are devoted to short periods of time and then years elapses in a throwaway chapter. I had a similar frustration here, where it seems that nearly every important moment in the story happened off-screen. Which helped make it difficult to be emotionally invested in anything that happened on-screen. As did the consistently drab, detached feeling generated by the cinematography.

The premise is certainly interesting. And the film does raise (or attempt to, at least) a number of fascinating questions. But the dogged determination to avoid delving into any moment, feeling, or relationship means the movie never really takes the time to adequately ponder any of them. So I’m not entirely sure what to recommend about the film. It does present an intriguing framework and series of ethical dilemmas, so perhaps if that’s all you need to get the mind racing, you’ll be happy. Well, not happy, because nothing could make this uber-serious film crack a smile.

I’ll be honest, I don’t see how the film could make a play for any major awards. I obviously had problems with the script and the movie as a whole. In Bend It Like Beckham, The Edge of Love, and this one, Knightley is mining a vein of bitchy best friend that continues to surprise me. I really like both her and Carey Mulligan, but I don’t think their characters here provided much of a canvas.

Brian

As the last one to do my not-so-quick thoughts, I’ll keep this short, but I just found Never Let Me Go so blah. Had I been drawn into the character’s lives– cared about their love triangle, tried to understand the psychological damage heaped upon them — I might have cared about the end result. And had the characters been developed at all, instead of trying to mirror the slow and minimalist tone of the book (or so I’ve heard), I might have stopped trying to figure out the macro-ramifications of the world in which they lived.

I thought the title screen could have been the biggest miscue of the entire film. Without that knowledge about cancer being eradicated, and the average life span extending to 100 years old, the mystery of Hailsham would have lingered much longer and been much more engaging. The dystopian elements were so obvious to me from the start (though the specifics remained murky) — that I kept trying to latch onto Carey Mulligan or Keira Knightley’s performances. Children of Men is one of my favorite films of all-time and hidden in its heart-stopping tracking shots and escapist futurism is a thought-provoking philosphy experiment: What WOULD happen if all the women of the world stopped having babies?

Never Let Me Go tries to pull a similar trick by offering similar ethical/philosophical quandaries hidden in a love story — one that never materializes amid the pretty cinematography.

Jared said it best, all the good stuff happened off screen. And I’d give him more credit, but he went ahead and referenced Virginia Woolf. What the hell, dude?

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.

Stupid work getting in the way of this.  Seems like every year people say it was a bad year for the Best Actress category, which is generally hogwash, and  I especially don’t really think it is true this year.  Sure, maybe my list for Best Actor possibilities was longer, but I’m fairly certain the next five women off the list would have still made a very strong category.

1. Patricia Clarkson, Blind Date

Nobody does sullen and deadpan like Ms. Clarkson.  Just no one.  And here, to pull off that underlying sadness while playing a variety of personalities, well, it was pretty perfect.

2. Zooey Deschanel, (500) Days of Summer

I swear, it wasn’t intentional to have my top two actors and actresses match up.  Maybe it is fitting, though.  It was pretty fascinating to see Deschanel’s character morph from The One to a biatch and all phases in between, at least through Gordon-Levitt’s eyes.  Sure, the role was right in Deschanel’s wheelhouse, but she still knocked it out of the park.

3. Emily Blunt, The Young Victoria

To me, at least, a monarch at a young age is a fascinating topic.  And here, a terribly difficult role to play, as Victoria learned to play the political game while going through adolescence.  Which is insane.  I mean, think about Adventureland, only if instead of learning to survive on his own, Jesse Eisenberg had to rule a friggin’ country.  And I think Blunt didn’t get a nomination here for exactly that reason.  The Academy wasn’t comfortable with a ruler who showed such humanity.

4.  Gabourey Sidibe, Precious: Based on the Novel Push by Sapphire

I think I may have discussed her elsewhere, but wowza.  When going through the best actress nominees this year, I’d be stunned if voters didn’t take at least a second to think about writing in her name. [Edit: To clarify, I meant choosing her as the nominee they think should win.]

5.  Carey Mulligan, An Education

It isn’t just that I fell madly in love with Ms. Mulligan after the film, it is that I can’t imagine anyone not falling in love with her.  I think she took a weak script and ran with it something fierce, and with many other actresses, this film gets shut out of Oscar completely.

Just off the ballot: Meryl Streep (Julie and Julia) and Tilda Swinton (Julia).  And not just because that’s funny.

I promised Golden Globes thoughts in the liveblog post. Can’t say I have a ton though.

Avatar may or may not be a  frontrunner, but it’s more likely that it is now than before.

There’s no clarity in the Actress race with both Sandra Bullock and Meryl Streep winning. Alas if Carey Mulligan were to have a shot I think it’s now faded. Maybe awards voting bodies are punishing her for dating Shia LaBeouf.

On the Actor side, if George Clooney can’t win over even the star-loving HFPA then I think Jeff Bridges has it wrapped up. I was really hoping for a Matt Damon win for The Informant! so that maybe he could sneak into the Oscar category. I think that’s unlikely now, unfortunately.

Up in the Air strikes me a writers’ movie and its Screenplay win makes me think it still has a good shot at Adapted Screenplay even if it fades in other categories.

I still think Kathryn Bigelow will win Director, but James Cameron could very well come out on top now.

And Ricky Gervais is hilarious.

That’s about it. The end of my very original Golden Globes analysis.

After John’s reveal of his love for An Education, I figured I’d get the discussion going on one of the apparently few films this year where there’s at least some disagreement in our little group.  To first set the record straight, I didn’t hate the movie.  The cast, for starters, is pretty great.  Has a Bond girl, so that’s good.  Dominic Cooper lets me break out the Starter for Ten tag.  Olivia Williams lets me note that this season of Dollhouse has been really really strong.  But perhaps more to the point, Alfred Molina and Peter Sarsgaard are both simply fantastic in their roles.  And Carey Mulligan, well, I defy anyone to not fall madly in love with her.

My problem with the film is that I don’t understand why it was a story that needed to be told.  The story is relatively simple without any particularly meaningful ending.  The dialogue, while crisp, isn’t memorable.  I’m not suggesting the movie shouldn’t have been made, rather that it didn’t leave me with any lasting impression.

Down the road, if I remember anything from An Education, it will be the cast.  I might recall not disliking the film, I suppose.  But I’m already left with a sort of vague indifference; I liked the movie because I like watching movies.  The script didn’t actively put me off the film, but it didn’t draw me in, either.  (But it is OK, Nick Hornby.  We are still tight.)

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