REVOLUTIONARY ROAD (REVIEW)

Stars: * * * * (4/4)


                                                                                                      

The picturesque conformist view of the ideal, or "common", human life is actually quite depressing. Let's just think about this for a second: we go through childhood, youth and finish high school. Then we move onto College and University and into careers. By the age of 30 society looks down on us and says: "When are you going to settle down, get married, have kids and move into your ideal suburban home?".
This seems to the accepted norm of society: school, job, marriage, kids. And people are just seen as the pieces that match this puzzle, with each new generation leisurely stepping into take their place. "Revolutionary Road", adapted from the acclaimed novel by Richard Yates, explores these themes in depth. Set against the backdrop of a suburban neighbourhood of the 1950s, a time where conformity was never questioned and every man wore grey suits and took the train in silence to work, the film masterfully portrays a trapped couple struggling to come to terms with their place in society.

The film starts off at a College party where the young men and women mingle amid 1950s dance music, smoke and cheap liquor. It is here where Frank Wheeler (Leonardo di Caprio) meets his future wife April (Kate Winslet). They ideally discuss their lives, the future, and all the things that they want to become. Whimsically they fall in love. Before this we are taken to a play recital where Frank watches April from the crowd. The final curtain closes and the mutterings of the audience, and the expressions on Frank and April's face tells us it didn't go well. April hides backstage, ashamed to face the audience and her husband, wallowing in self-pity. Frank begrudgingly makes his way to the dressing room, conjuring up what he is going to say to mask what was an embarrassment. He tries to play the role of the doting husband, but April sees right through the facade and immediately shuns any sympathy or attention. Their marriage is strained, and life is taking it's toll. The shot of them walking down the corridor from a distance, and as it gets closer Frank edges forward creating even more distance between them, is masterfully done. Immediately we are shown this is not a happy couple, life has crushed their idealistic young spirit, and life is taking it's toll.

The Wheelers' live on Revolutionary Road in a house shown to them by Mrs Givings (Kathy Bates). Everything about their lives conforms to the ideals constricted on them by society. April is a stay-at-home mother with two children who doesn't have a job. She does housework, cooks and cleans, and entertains family guests politely and with a nice cup of tea. Frank drives his car to the train station where he takes the train to work. Dressed in a grey-suit and tie, he sits and reads the paper like all of them. Like all of them, he gets off the platform and walks to work where he does a mundane job in a mundane office environment.
The scenario is so plain and realistic it is almost painful to watch these two ordinary souls torturing themselves and making their lives a misery.

But it is April, who seems the more willing to take the leap, that makes the first step. She suggests moving to Paris as a way to start over and experience a new life where she would work as a secretary and Frank would take time to "find himself". Frank eventually agrees, and through their hope for a new beginning we see radically different people; both are invigorated, confident and willing to challenge anything and anyone. This notion challenges the accepted norms of gender roles that were clearly defined and unchallenged during this time period.

Of course, life happens when April finds out she's pregnant, and it is here where their worlds come crashing down. Frank receives a huge promotion that promises more money and prestige, and he is willing to take it to play his role as loving husband; April doesn't find acceptance to easily. The couple is challenged by John Givings (Michael Shannon), Mrs Giving's son, who readily speaks the truth openly and without thought of consequence. He is the only one that plainly tells them what they are thinking and what is happening, and as irked as they are, deep down they know he is right.

"Revolutionary Road" will no doubt draw comparisons with Mendes' earlier work in "American Beauty", but what makes this different is that whilst "American Beauty" idealizes the truth of beauty and looking deeper, "Revolutionary Road" goes to a whole new level of unraveling the unique pain and emotion of life. It goes even deeper. The acting in this film is also amazing with both Di Caprio and Winslet giving riveting performances, but it is Michael Shannon that steals the show in the short time that he is on screen. He is the window into their souls, and as he looks in it just gets blacker and blacker.

If you're expecting a happy reunion of Kate and Leo from "Titanic", or believe this is the ending it could've had, think again. "Revolutionary Road" is a dark character study that explores the depths of our souls, and only those brave enough to want to see it will find this rewarding.

TALLADEGA NIGHTS (REVIEW)

STARS: * * * (3/4)
                                                                       
"If you ain't first, you're last". These are the words that govern Ricky Bobby's life, from a naive 10-year-old-boy to a 35-year-old professional race-car driver.

Talladega Nights is a spoof comedy about Nascar driving, chasing ones dreams, and trying to get up when knocked down. Directed by Adam McKay (of "Anchorman" and "Step Brothers" fame) we are given an hilarious set-up involving Will Ferrell as Ricky Bobby, a man abandoned by his father (Gary Cole) at 10 and living by the motto "If you ain't first, you're last", the last words his father said to him at his school's career day.
Ricky starts off working on the track for the worst Nascar franchise, swiftly changing tyres and enjoying after-work drinks with his crew and best-friend Cal Naughton Jr. (John C. Reilley). His life changes when he takes over from the main driver and races forward to place third in a race. Ricky is not used to the life of a rich star, as can be seen in his awkward post-match interview where he doesn't know how to use a mic and what to do with hands. However, the owner of the franchise signs both him and his friend Cal up as new drivers for the team, and the two start taking Nascar by storm. Ricky wins practically every race, sometimes using Cal to help edge his path to the front. Soon afterwards fame and fortune come easy to Ricky as the sponsorship dollars and women fly in to his path. He develops a cocky, arrogant attitude of the untouchable sports-hero, at the top of his field and without a care in the world. And this is where Will Ferrell places Ricky so well; displaying this cock-sure man who is willing to exploit his best friend to get to the top, yet at the same time revealing a man that, when truly challenged, questions his own ability to succeed and do the right thing.
However, he is given his ultimate foil when Jean Girard (Sacha Baron Cohen), the most successful driver in Formula 1, arrives on the scene ready to challenge Ricky's claim to being the "best driver in the world". Baron Cohen plays Jean Girard, a gay Frenchmen who loves Jazz music and reading French novels whilst driving on the track, brilliantly as he, Ferrell and Reilley balance each other out perfectly. Other members of this ensemble include Jane Lynch, Michael Clarke Duncan and Amy Adams.

What makes this a little different from other Will Ferrell comedies (aside from some slapstick jokes and Ferrell's obligatory 'rage' scenes) is that the characters are overall better written, and the cast blends together to give the viewers lots of laughs. The script in this movie is one of the best for a Ferrell comedy, as is the direction from Adam McKay. The racing scenes are also impressively dealt with and could've been made to look hideous, but because this is done properly, it gives the film some level of authenticity.

But what I like about Talladega Nights is the overall message it is trying to portray, that of not just how easy one can rise to fame in sports and experience the high-life, but how easy one can fall from that too. I often sit and marvel at the exorbitant salaries of British football players, or American sports heroes, and how the arrogance seems to rise to extreme levels. Well this movie takes these elements and shows us that we should do something first and foremost for love and enjoyment.

Let the fame and fortune fall where they may...

SEMI-PRO (REVIEW)

STARS: * *  (2/4)

"Semi-Pro" takes us back in time to the 1970s, where out-of-proportioned afros' hairstyles, funk music and pimped-out automobiles ruled the streets.

It starts off with Jackie Moon (Will Ferrell in yet another outlandish character role), owner, player, coach and power-forward for the Flint Michigan Tropics (a team in the Amateur Basketball League) introduces himself and his team to the sparse, yet enthusiastic crowd. From the montage beginning we know who he is: he is a one-hit wonder singer, with his once-popular song "Love Me Sexy" soaring to No.1 on the charts. With this came a fortune, which he chose to invest into an Amateur Basketball franchise. And as the ringside announcers Lou Redwood (Will Arnett) and Dick Pepperfield (Andrew Daly) remark, it's his money, he can do with it whatever he wants.

The plot of this story is pretty straightforward: the Tropics are bottom of the league, can't sink a basket to save their lives, and are faced with impending financial doom. The tension is increased when it is announced that they can save themselves by finishing fourth and being absorbed into the NBA. With this bait, Jackie enlists the help of seasoned pro Monix (Woody Harrellson), a player that in his career has punched and hit basically everyone at the Tropics. With this comes a really disturbing romantic side-plot involving a reluctant ex-girlfriend (Maura Tierney) and her obsessed boyfriend (Bob Coddry).

We have come to expect a specific character and brand of humour from Will Ferrell, and it's no different here. His character basically transports himself from Talledega Nights, with his usual rants and self-absorbed behaviour. Except instead of Nascar racing, we have Basketball. His character was funny in Talledega Nights, but here it just seems to be a bit overplayed, and whilst it does have its moments, in the end it does fall flat. The jokes seem to be repeating themselves.

What does make this movie worthwhile for a laugh though is the strength and acting of the supporting cast, noticeably from Woody Harrelson whose character perfectly finds the balance needed in the story. He plays his character in a serious overtone, and that is what makes it funny when you put it against the backdrop of the ridiculous Jackie Moon, 70s setting and Tropics franchise. Andre Benjamin, from the hip-hop group Outkast, also surprises in his role as Clarence, the team's best player who dreams of bigger and better things (AKA, the NBA). These characters are the most well-written and rounded. The most laughs though definitely come from the duo of Will Arnett and Andrew Daly, whose banter in the background is both brilliant and clever.

Semi-Pro is not a bad film, and there are lots of laughs, but if one is not a Will Ferrell fan one will struggle to find them. The film does a good job of taking us back in time to the era of the 1970s, with outlandish costumes and a funk-ridden soundtrack. In the end, the overall story and sometimes distracting direction is what lets this film down in the end. Definitely for Will Ferrell fans only.

 

THE HANGOVER (REVIEW)

STARS: * * * * (4/4)

                                           

A trashed out luxury suite. Smoke rising, big-screen TV's smashed, empty beer cans strewn throughout, a random chicken running around, and a tiger trapped in the bathroom. These are just a few of this film's ingredients. Add all this together and you get comic perfection. The Hangover was the best comedy released in 2009, and to my mind the most memorable of recent years. It has a cleverly constructed script with lots of gags, funny situations and believable yet outright outlandish characters.

The Hangover starts out on a dusty road outside Las Vegas where three friends have lost their friend and can't find him. Ordinarily this wouldn't be that funny. But the fact that he is getting married that day makes for a brilliant scenario that makes for great viewing.

Our boys are in a battle against the clock. The story is told in a sort of flashback to the day before, where the gang sets off for Las Vegas to party it up before Doug's (Justin Bartha) big wedding on Saturday. Phil (Bradley Cooper) is a school teacher, but he definitely hates his job, tricking the kids into thinking they're paying for a field-trip by actually funding his Vegas trip with their money. He also says to a boy who approaches him after school: "It's the weekend, you do not exist!". Stu (Ed Helms) is a doctor (sorry, dentist) that seems unable to break away from his domineering fiance, and seems totally devoid of any kind of confidence or self-respect. Alan (Zack Galifinakis) is Doug's soon-to-be brother-in-law who tags along for the ride. Alan is a bearded, pudgy middle-aged man, yet has the playful innocence of youth: he is obsessed with counting cards, Rain Man and illegal things one can do on airplanes. This is Galifinakis' break-out performance, and he really shines here. He could've easily overplayed his character, but he keeps it simple, and we grow to love this little man who really cares about people and just wants to be part of the group.

The gang (or "wolfpack") check into Caesar's Hotel, and embark on a night they'll never forget. Of course, the opposite happens and they forget everything, including where Doug is. The film then sets out to retrace their steps in their search for Doug, and we are given many memorable situations, characters and cameos.

What makes this movie different to any other of it's overplayed genre is that the comedy seems natural and fresh, and doesn't rely on seemingly unplausible situations or events. This could very easily happen, and yes there are one or two things that seem a little far-fetched, but the balance gets it just right. Todd Philips (of Old School fame) takes a gamble by casting relatively unknowns as the leads, and it pays off handsomely. I think that's what gives it it's "freshness" is that we haven't really seen these people before, they seem more real. The script is really well-written and everything about the film is authentic.

This is not just a good comedy, it's a great comedy. You'll join in with the boys as they search to find their friend, but their friend also becomes "your" friend, such is the film's touch. As the film states: "What happens in Vegas stays in Vegas". Well, this film will stay with you. That is a guarantee.

OFFICE SPACE (REVIEW)

 STARS: * * * * (4/4)
                                      
                           

"Office Space" is one of those movies that wasn't exactly appreciated like it should've been upon its release in 1999. In the 12 years since its release it has grown, developing a cult-following of dedicated fans who empathise with the characters and understand what the movie was meant to achieve.

"Office Space" is an extremely clever and well-executed satire of Corporate America. It looks at business situations and models, from middle-management to cubicle-confined workers who rely on their weekly paychecks to survive. The movie opens brilliantly where we are introduced to the characters we love in situations that pretty much everyone who has worked in an office environment, "9-to-5" type job has experienced. Stuck in the grind of traffic, where the cars literally have come to a complete standstill. Peter Gibbons (Ron Livingston) drives through traffic, going along with the slow grind of the rest of the world. He is stuck in a lane that doesn't move at all, where he looks to the sidewalk and sees an emfeebled old man with a walker going faster then him. He looks to his left and sees that the lane is starting to open up, the cars are moving swiftly. So he joins the lane, only for it to come to a halt, and funny enough the lane he has just left is now moving.
This sets up Peter's situation and the rest of the film perfectly in the sense that, no matter what one is doing and what environment one is in, there always seems to be a better, more attractive option nearby. The trick is, how do we get there?
Peter works for Initech, where his job is to update bank software for the "2000 switch" (remember the Y2K phenomena?). His best friends are Samir (Ajay Naidoo) and Michael (David Herman), software engineers who, like Peter, feel their souls being crushed by the Corporate world. Peter is plagued by his annoying boss Bill Lumburg (Gary Cole), who seems to purposefully insense Peter with his constant requests regarding mission statements of TPS reports. The basic plot is that after Peter seeks help from a psychotherapist, he makes a "revelation" that changes him, where he decides to "rebel" against the establishment...taking Michael and Samir with him.
The other characters in Peter's life include Milton, the self-obsessed, excluded individual (brilliantly played by Stephen Root) whose obsessions with his weekly paycheck and a red-stapler adds to the comic touch of teh film. He is a character that can't be heard and is ignored - haven't we all felt like that? Peter lives next-door to Lawrence (Deidrich Bader), a hill-billy type character reminiscent of Seinfeld's Kramer.

I won't give away too much of the plot here as it would spoil the authenticity of the film. But what makes this film so good is not so much the plot, but the simplistic yet very human characters that we can all easily relate and root for. They aren't "Hollywood" macho-men stars, but just simple, ordinary guys who are making a living. The film also has appearances by Richard Riehle, John C.McGinley, and Jennifer Aniston as Peter's love interest. There is also a brilliant cameo performance by an inanimate office object who provides one of the greatest comic scenes of all-time, but I'll let you watch the film to find out for yourself.

"Office Space" is the film that lets us escape into a fantasy where we can let our not-so-wild dreams fill us with amusement and joy. The production design of the film, with the grey-gloomy colours, confined spaces and cubicles sets the tone for the action to take place. Director and Writer Mike Judge has given us a modern-day comic classic, that I'm sure will be cherished and discovered by many frustrated individuals for many years to come.

MOVIE NEWS 2011

JAMES BOND 23 (2012)

It seems "Bond 23" has gone into pre-production with filming set to start in about Oct/Nov 2011, due for a late 2012 release. Daniel Craig is back to reprise his role for the third time as Bond, as well as Judi Bench. The villain has not yet been named but its been rumored that Javier Bardem or Ralph Fiennes will take the role. Sam Mendes is attached to direct, which is an interesting choice. Mendes is more known for his intricate dramas, such as "American Beauty" and "Road to Perdition", and hasn't really done an action/adventure type film. So it'll be interesting to see how this turns out. If he's given a good script and story, this could be a very different-looking Bond movie. It is rumored that Mendes also wants to reunite with cinematographer Deakins. The two worked on "Revolutionary Road" and have both stated they'd like to work together again. If Deakins comes on board, we can at least be guaranteed that the film will look good. Either way, it can't be any worse than "Quantum of Solance"....can it??



THE HANGOVER PART 2 (2011)

I'm not sure how I feel about this. The Hangover was genius, the best comedy in years. A sequel is risky because if it fails, it threatens the authenticity and brilliance of the original. The basic premise for this one is the gang (or wolfpack) head to Thailand for Stu's wedding. The original cast is back, which is a good thing. Liam Neeson also makes a cameo. Release date will probably be in the Summer (US). Here's a "teaser" for the film:

http://www.youtube.com/watch?v=PB0fCP7Nj3w

THE INVENTION OF HUGO CABRET (2011)

Martin Scorsese has wrapped up filming for his new film, "The Adventures of Hugo Cabret". This is a vastly different project for Scorsese, who is well known for his gritty crime-tales and suspense dramas. "Cabret" is a children's fantasy tale, starring Chloe Moretz (Kick-Ass), Sasha Baron Cohen, Ben Kingsley and Jude Law. The film is set in the 1830s in Paris, so it'll be interesting to see the production design and feel of the film. Scorsese has also ventured into 3-D for the first time. Release date is in December 2011.

 (Scorsese on the set of Hugo Cabret)

J.EDGAR (2012)

Eastwood is busy filming his upcoming film J.Edgar, a biopic about FBI boss J.Edgar Hoover, starring Leonardo di Caprio, Armie Hammer (The Social Network) and Naomi Watts. It is slated to be released in 2012, but Eastwood shoots and edits his films fairly quickly so expect a late 2011 release.

Here are some pics from the set:
 (courtesy of napiersnews.com)

 (courtesy of buzzhollywood.com)

ACADEMY AWARDS 2010: My Final Thoughts

                                                    

Well, the Awards season for 2010 is finally over. Thank Goodness! It's been a long, arduous see-saw season that left even the most hardened pundits confused. That being said, the final push of momentum saw The Kings Speech over the line, beating out early favourite The Social Network. I've never seen a season where a film dominated the first half of the awards, literally trumping all opposition, only to be overtaken in quite an extraordinary turn around of fortune. After Network triumphed at the Globes, I felt certain nothing would stand in its way.

But I was wrong.

From a personal view point, I was happy The Kings Speech walked off with the big prize. It came down to a choice between Kings Speech and Network, and to be frank, Speech is a better more satisfying movie. But maybe I wanted it to win mainly because I didn't want to see Network win. If it were my choice, I would've given out the Best Picture award to Toy Story 3, with Inception being a close second. However, the Academy refused to embrace the animated genius, and opted for the more conventional choice.

I made my predictions this year in the hope of trying to get 20/24, which is a difficult feat because of the smaller film categories (like Live Action Short Film, which is a gamble). Added to that the close races in some categories, and the odd surprises that come up every year, getting a 80% successs rate is hard.

The night started terribly for me as I got none of the first four awards! So in order to get my aim, I would have to get every award right for the rest of the night. I knew I wasn't, but in the end my total added up to 17/24. Not a bad effort.

My take on the awards? Well, the show was pretty boring as usual. The hosts simply didn't click: James Franco, whilst a fine actor and my choice for Best Actor of the year, looked asleep half the time; and Hathaway's cheerful presence did seem to slightly grate some people. Billy Crystal was great in his short apperance, and I wish the Academy would bring him back. Or Steve Martin. Or how bout giving someone like Conan O'Brien a chance? He hosted the Emmys in 2007 and was hysterical.

The awards itself? Well, I predicted a sweep for The Kings Speech, but it didn't quite dominate the technical categories as I thought it would, losing awards such as Art Direction, Costume and Score. The big surprise for me was seeing Inception win Best Cinematography over True Grit, which was the universal favourite for this one. Toy Story 3 of course picked up Animated Feature, and it was nice to see Randy Newman take the Best Song award. Inception garnered 4 technical awards, as I knew it would, in the Visual Effects and the two Sound categories. The Fighter took home Best Supporting and Best Supporting Actress awards for Christian Bale and Melissa leo respectively. I was glad to see Bale win because he was great in his role and has had a fantastic career. Of the major categories, Leo's win was the only one I got wrong. In retrospect I should've gone with her as she was the favourite, but I had a hunch she may have lost friends in some quarters due to her personal campaign methods. I was wrong. Personally, I was not happy to see Leo win as I felt she didn't deserve it. My personal pick would've been Amy Adams who was much more convincing, and if not her then Hailee Steinfeld. I correctly predicted Original Screenplay to go to The Kings Speech and Adapted Screenplay to go to The Social Network, whose only other prizes was Editing and Score (which was a bit of an upset as I thought Speech would take this).


                      

Firth and Portman won Best Actor and Best Actress - no surprises there. But the award that was the most interesting of the night was definitely Best Director. In fact, I was on the verge of thinking: "Oh my word, Social Network is going to take this!". I thought this because Speech wasn't sweeping the tech categories like I thought, and Fincher was kind of the 'favourite' for the award. However, when they read Hooper's name, I knew it was all over. Spielberg stepped up and announced the Best Picture for 2010 as "The Kings Speech". Harvey Weinstein has the final laugh. And the King is crowned.

There will be a long debate as the years go by as to the legitimacy of The Kings Speech's "Best Picture" win. Many will cry that The Social Network was snubbed, and will cry foul. I, however, think that BOTH these pictures weren't the best of the year. But, history can't be changed.
Network fans can take comfort as they fall into the category of The Shawshank Redemption, Apocalypse Now, Pulp Fiction, Goodfellas, Taxi Driver, Raging Bull (and many many others) of films that didn't win Best Picture...

As Spielberg said, "That's not bad company" to be in... don't you think??

"IF I PICKED THE OSCARS" - 2010

So I've made my predictions on how I think this year's Oscar race is going to go. But what would happen in my ideal world? Well, if I was a member of the Academy, this is how I would vote:

BEST PICTURE
MY PICK: Toy Story 3
                                        

Shock! Horror! I never thought I would live to see the day where I would pick an animated film as the Best Movie of the Year. But the day has come. I suppose I, like others, have always had a sub-conscious belief or bias against animated films, likening them to being "kids movies," and "nothing that would warrant serious consideration". Well, my opinion started change after WALL-E and Up. And now, I have finally broken the barrier.
Of the films that were nominated (and I've seen all of them), Toy Story 3 was the best. It had everything: action, adventure, drama, comedy, romance. I laughed, I (almost) cried. It was superb cinema and animation...storytelling at its finest. So why not give it the "Best Picture" award? Why not indeed. If ever an animated film was going to win the coveted prize, it would've been this one.
Inception and The Kings Speech were second and third for me respectively, both fine films that would also warrant recognition. The Kings Speech will be honoured by the Academy come Sunday night, and I will be more then happy when it picks up its awards. It is a brilliant film.
But I just wish the Academy whould have given Toy Story 3 some more consideration. Because if they did (like I did), they may have thought differently...

BEST DIRECTOR
MY PICK: Tom Hooper - The Kings Speech

This was a difficult one because I feel the best directing of the year came from someone outside the nominees (Christopher Nolan for Inception). But, we have to stick with what was nominated.
There can be strong cases made for Black Swan and The Social Network here, but I'm going with a heart-pick. My vote goes to Tom Hooper for his work in The Kings Speech. I think he handles all aspects of the film with a delicate touch, and never does he try and "force" it down the viewers' throats. He lets the camera do the work, and for his simplicity and poignancy, he gets my vote.

BEST ACTOR
MY PICK: James Franco - 127 Hours

This was a really really tough decision, and I was really torn between Franco and Firth. I also gave some consideration to Jesse Eisenberg and, although I wasn't a fan of The Social Network, he gave a fantastic performance. Firth was brilliant in his portrayal as the stuttering, self-loathing future King, and will be justly rewarded with the gold statue.
However, if I was voting, I would've picked James Franco in 127 Hours. He carries the whole film on his shoulders and delivers a gripping, belieavable performance of the man stuck under a rock, who has to resort to the great sacrifices to survive. I can't imagine how taxing this role must've been for Franco, but no doubt this will serve as a launchpad for a wonderful future for the young actor. A sensational performance.

BEST ACTRESS
MY PICK: Annette Benning - The Kids Are All Right

Maybe I'm going with a little sentiment here, but I do actually believe her performance was better then Portman's. Portman was good in her role, but at times I felt it a little forced and inconsistent.
Benning is one of my favourite actresses, and delivers yet another excellent performance as the ageing lesbian mother who tries to keep her family together. Moving and brilliant, Benning gets my vote.

BEST SUPPORTING ACTOR
MY PICK: John Hawkes - Winters Bone

Whilst everyone is going with either Bale or Rush, I'm looking outside the box and going with probably the least known performance. John Hawkes was absolutely brilliant in Winters Bone, stealing the show with every scene he was in. His performance, whilst not as flashy as Bale or Rush (who both do excellent jobs), is the one that sticks out to me for this very reason. It is difficult to "stand-out" with a more sedate role, but Hawkes' does just that.

BEST SUPPORTING ACTRESS
MY PICK: Amy Adams - The Fighter

This was a bit of a tricky pick, and I almost went with Steinfeld in True Grit. But what made the difference is that Steinfeld's performance is a lead, not supporting. So, that being said, I believe the best "supporting" performance of the year belongs to Amy Adams. The Fighter was a major disappointment to me. I thought the acting at times was pretty poor, but Adams delivers the best performance of the lot. Unfortunately it seems her co-star Melissa Leo has taken the spotlight in what was, quite frankly, one of the most overrated and over-the-top performances I've seen in some time. Adams has come a long way, and developed into a fine actress...and she shows it here.


So thats my final thoughts for 2010. An interesting year for film. The funny thing is, of my personal "picks", none of them will probably correlate with the actual winners (except Hooper). But thats all folks. Will give my thoughts after the Oscar ceremony on Sunday.

Adios!

FINAL OSCAR PREDICTIONS 2011: Drumroll please....!

Well, the time is here, and it is with some trepidation that I make my final predictions for who I think will walk away with the coveted gold statues for 2011. It has been somewhat of a rollercoaster year, see-sawing between two films. The Social Network stormed the Critics and early precursor awards, picking up NBR, Critics Choice and Golden Globe nods. It seemed almost unstoppable.
But then The Kings Speech arrived, and with it a force that crushed all opposition in sight. Like Usain Bolt taking a leisurely walk and suddenly picking up steam to take the lead of his competitors, The Kings Speech picked up major awards at the PGA, DGA, WGA and SAG, as well as taking top honours at the BAFTAS.
Will it be crowned on Sunday? Or will the rollercoaster ride back to the early favourite?

Here's what I think is going to happen:

BEST PICTURE
WILL WIN: The Kings Speech
Alternate: The Social Network

                                                        

The Kings Speech will continue its ride to capture the top prize on Sunday night. Its wins at the Guild Awards and the BAFTA's has sealed it's fate in a quite extraordinary "comeback".

BEST DIRECTOR
WILL WIN: Tom Hooper - The Kings Speech
Alternate: David Fincher - The Social Network

This was probably the hardest of the categories to pick - seriously, it could go either way, and the race is extremely close. Many pundits are going with Fincher, and they could very well be proven right: he is the respected, veteran director with many great films such as "Seven", "Fight Club" and "Benjamin Button". Why not reward him here? Well, I personally think that the Academy did not like his film as much as the critics did. The major factor for me going with Hooper is that he won the DGA, and I think only 6 times in history has the DGA and Oscar winner not matched.
I'm going with stats, and for Hooper. Though I won't be surprised at all if Fincher picks up the award as he is more respected and has more "street cred" then Hooper. This is the most interesting and exciting category of the night!

BEST ACTOR
WILL WIN: Colin Firth - The Kings Speech
Alternate: None (But if I had to pick, then James Franco for 127 Hours)

The chances of Firth winning are about the same as a new day beginning tomorrow: 100%. He's been a lock for this award seemingly even before the season started. There really is no way he won't win. Eisenberg and Franco both give compelling performances as well, but its just not their year.

BEST ACTRESS
WILL WIN: Natalie Portman - Black Swan
Alternate: Annette Benning - The Kids Are All Right

Portman, like Firth, is locked for this. But there is still room for an upset, even if its a slight one. The reason? Annette Benning. She's a veteran and due for a win, and could cause an upset. But I really don't see it happening. She is great in her role, but its not the performance she will be remembered for. And the film doesn't have a massive amount of support. So, Portman to win - quite comfortably.

BEST SUPPORTING ACTOR
WILL WIN: Christian Bale - The Fighter
Alternate: Geoffrey Rush - The Kings Speech

This race is also a close one, and both give great performances. Bale is the frontrunner, but many people think that if the Academy love Kings Speech, they may shower the love all around. If that is the case, Rush could very well get the nod here. I was very tempted to say Rush, but the precursor support for Bale (and the fact that Rush already has a gold statue for "Shine") seems to point to a Bale win. This one is going to be close.

BEST SUPPORTING ACTRESS
WILL WIN: Helena Bonham Carter - The Kings Speech
Alternate: Melissa Leo - The Fighter

This is the most open of the acting categories, with three semingly plausible contenders. I can see any of Leo, Carter or Steinfeld winning. Melissa Leo has been the front-runner for most of the season, though her performance and campaign has been viewed as a little bit "off-kilter" in some quarters. Carter also won at the BAFTA's, which seems to tell me she may be rewarded here. Again, another close race here.

This has been a long, intense see-saw season where one minute we think one film is going to win, then another minute we think another. It's going to make for very interesting viewing on Sunday night, where anything can happen. If Fincher does win Director, then Social Network is in with a shout. If he doesn't, then its game, set and match for Kings Speech.

Here is my complete list of predictions in all 24 categories. I will report back after the awards and see how many I got righ (most of the non-feature film categories like animated short, etc, are a gamble):

FINAL PREDICTIONS

Picture - The Kings Speech
Director - Hooper, The Kings Speech
Actor - Firth, The Kings Speech
Actress - Portman, Black Swan
Supp Actor - Bale, The Fighter
Supp Actress - Carter, The Kings Speech
Adapted Screenplay - The Social Network
Original Screenplay - The Kings Speech
Editing - The Social Network
Cinematography - True Grit
Foreign Language Film - In A Better World
Animated Feature - Toy Story 3
Art Direction - The Kings Speech
Costume - The Kings Speech
Make up - The Wolfman
Original Score - The Kings Speech
Original Song - "We Belong Together, Toy Story 3
Sound - Inception
Sound Editing - Inception
Visual Effects - Inception
Documentary Feature - Exit Through The Gift Shop
Documentary Short - Strangers No More
Animated Short - Day and Night
Live Short -  God of Love

Well, thats it. I will post my "If I Picked The Oscars" article later, and we'll see what would happen in my "ideal" world!

                                                                                         

"IF I PICKED THE OSCARS" - 2008

Yesterday I did the "If I Picked The Oscars" for 2009 where I believe the Academy made a bit of a mistake in rewarding The Hurt Locker. If it had gone my way, I would have awarded Inglorious Basterds with the Best Picture and Best Director Awards. Alas, the result is now history, but at least they got it right and acknowledged Christoph Waltz's fine performance.

Today I am going to be doing "If I Picked The Oscars" for the year 2008. This year was actually a really strong year for film, with so many that I love. So this year it is a lot more difficult for me to make picks. Actually, my personal favourite films of the year didn't even make the final 5, again with some glaring omissions. So if I had to do the whole nomination/winning process over again, the result would be VERY different. However, we are sticking to the actual films that were nominated.

So, without any hesitation, let's go straight to the big one.

BEST PICTURE
MY PICK: Frost/Nixon
WON: Slumdog Millionaire

                                     

Let me get this out the way now. I really really liked Slumdog Millionaire. I thought it was a fantastic film, and it was a worthy winner of the Best Picture award. However, of the films that were nominated, I thought the film that was the most cleverly crafted and delivered was Frost/Nixon. The climax to the film was spectacular and wonderful cinema to watch: two grown men, both skilled int he art of verbal deception, trying to outwit each other like two tired boxers in the ring. Or two chess champions waiting for the other to crack. This is by no means an easy feat, and I feel Ron Howard delivered what should've been the film that won Best Picture (of the ones that were nominated).

Now, here is where it gets interesting. I feel that the top movies of the year weren't even nominated, namely The Dark Knight and The Wrestler. A close pick, but I would've named The Wrestler as the best movie of 2008. There were others that were strong too, such as Revolutionary Road, Doubt, Gran Torino, WALL-E. All-in-all, an excellent year for film.

BEST DIRECTOR
MY PICK: Ron Howard (Frost/Nixon)
WON: Danny Boyle (Slumdog Millionaire)

This was a really really difficult decision. Both these directors had vastly different canvasses to paint on: Boyle had to deal with a story on a grand scale, dealing with many aspects at once. Howard had to deal with more of an intimate setting and story, a lot more confined. It was a tough choice. Boyle is a most worthy winner, have no issue with him winning, But in the end, I would've given my vote to Ron Howard. His direction in Frost/Nixon, particularly the final act, is sublime and spot on. I personally think this was a better achievement then A Beautiful Mind (which he actually won for).

But if we were to look at the films that weren't nominated, I think the best directing came from Christopher Nolan for The Dark Knight. What more does this guy have to do to even be nominated??!

BEST ACTOR
MY PICK: Mickey Rourke (The Wrestler)
WON: Sean Penn (Milk)

I was quite happy with pretty much all the winners this year, but THIS was the category that upset me the most. I saw all the performances that were up for Best Actor, and there was some fine work. Frank Langella was commanding in Frost/Nixon. But the performance that resonated with me was Mickey Rourke's amazing turn as Randy "The Ram" Robinson in The Wrestler. What an amazing comeback performance by the 'comeback' actor. It is one of my favourite performances ever, and one of the best of all-time.
Now Penn was really good in Milk too, but no way should have have beaten Rourke. At the end of his acceptance speech, he even acknowledged his "good friend" Mickey Rourke, as if embarrassed. Penn already had an Oscar, one which he deserved for Mystic River. He didn't deserve it here. He knew deep down Rourke should've won, and so did the rest of the cinema world. This was a terrible mistake by the Academy.

BEST ACTRESS
MY PICK: Meryl Streep (Doubt)
WON: Kate Winslet (The Reader)

Another weird choice by the Academy here. They got the right actress...but for the wrong film. She would've been nominated (and victorious) for her performance in Revolutionary Road, a vastly superior role. The Reader was more of a supporting turn, not really a lead. So again, looking at the nominees, if she had been nominated for Revolutionary Road she would've had my vote. But from the ones that were nominated, I would've picked Meryl Streep in Doubt.
This actress continues to amaze me. There literally is nothing this woman can not do. Her performance in Doubt was chilling, almost to the point of striking fear into the audience where we literally could feel every emotion she felt. A great performance by a great actor.

BEST SUPPORTING ACTOR
MY PICK: Heath Ledger (The Dark Knight)
WON: Heath Ledger (The Dark Knight)

Is there anyone else? From the moment I saw him in The Dark Knight, I just knew he would be absolutely unstoppable for the Oscar. An unforgettable performance by an actor taken from us way to soon.

BEST SUPPORTING ACTRESS
MY PICK: Taraji P.Henson (The Curious Case of Benjamin Button)
WON: Penelope Cruz (Vicky Christina Barcelona)

Some people may think this is a weird choice, too pick probably the most obscure performance of the bunch. Whilst Cruz delivers a great performance, I feel that Taraji P. Henson was brilliant for her role as the confused, overburdened mother in The Curious Case of Benjamin Button. I felt she embodied a performance of greater depth and emotions, and would've gotten my vote.

"IF I PICKED THE OSCARS" - 2009

As a build up to the Academy Awards on Sunday night, I will be looking back at some recent years and tell you what films and what actors I think should've picked up the honours.

We start with 2009, a year where Kathryn Bigelow's "The Hurt Locker" swept the stage with six wins, including Best Director and Best Picture. Here is what happened if I had picked the Oscars last year:

BEST PICTURE
MY PICK: INGLORIOUS BASTERDS
WON: The Hurt Locker


                                               

It was a bit of a painful year for me to endure last year because the whole race was about the battle between Avatar and The Hurt Locker, the "David vs Goliath"-like story. I wasn't a big fan of either film, and as much as I was resigned to the fact that either was going to win, I was really hoping we'd get a surprise (even though I knew it wasn't going to happen). I really disliked Avatar, and as much as the movie was visually appealling, it couldn't take away from the absolutely torrid cliched script and storyline. I was happy The Hurt Locker won for the mere fact that I was thinking "anything but Avatar, please!". My major problem with The Hurt Locker, again, was a script thing. Technically it was sound, but it lacked a strong cohesive storyline and structured characters. To me, it was just one disarming bomb scene after the other with no sense of development or anything.
I had three films that stuck out to me last year: Inglorious Basterds, Up and Up in the Air. It was a close pick, but I gave it to Inglorious Basterds as it was the best acted, written and directed film of the year. It broke boundaries and was so outrageous that one could only applaud. Along with the best acting performance of the year in Christoph Waltz, Inglorious Basterds is my "Best Picture of 2009".

Here's the rest of my picks for the major awards:

BEST DIRECTOR
MY PICK: QUENTIN TARANTINO (INGLORIOUS BASTERDS)
WON: Kathryn Bigelow (The Hurt Locker)

Tarantino's direction was flawless in his fictitious WWII epic. The opening 20 minutes especially is absolutely brilliant. Such a pity Tarantino didn't win here. :(

BEST ACTOR
MY PICK: GEORGE CLOONEY (UP IN THE AIR)
WON: Jeff Bridges (Crazy Heart)

I'm a big fan of Jeff Bridges, mainly for his iconic role as The Dude in "The Big Lebowski", and he is most certainly a worthy winner here. I do, however, feel that George Clooney should've won for his subtle yet emotionally-charged performance in "Up in the Air". I am not a huge fan of Clooney, but he was outstanding here.

BEST ACTRESS
MY PICK: GABOURNEY SIDIBE (PRECIOUS)
WON: Sandra Bullock (The Blind Side)
The whole year was a two-horse race between Bullock and Streep, which was a disappointment because I felt that Sidibe was more deserving then both. Totally convincing as the struggling 16-year-old girl who has to deal with pregnancies and parental abuse, Sidibe gives us a heart-warming and moving performance that would've been worthy of any award.

BEST SUPPORTING ACTOR
MY PICK: CHRISTOPH WALTZ (INGLORIOUS BASTERDS)
WON: Christoph Waltz (Inglorious Basterds)

Not just the best acting performance of the year, but his performance is one of the best of all time. Waltz is absolutely mesmerizing in every scene as the charming, eloquent yet brutal Nazi killer, that he makes us love and hate him at the same time. After watching the opening sequence of the film, I said to myself: "This man is going to win the Oscar". That was in July even beore I saw any of the other nominees. And I'm glad I was right.

BEST SUPPORTING ACTRESS -
MY PICK: MONIQUE (PRECIOUS)
WON: Monique (Precious)

When one thinks of great dramatic acting, one wouldn't normally have though of the comedian Monique. That all changed with one stunning performance as the domineering, abusive mother in Precious. Monique delivers on every level where we see such realism in her performance. Totally deserving of the recognition she received.

OSCARS 2010: MY CURRENT PREDICTIONS

Well we are coming to the final chapter of this year's Oscar race where two films have stood out ahead of the pack and will contest for the Best Picture Oscar. The Social Network dominated the critics awards, whilst The Kings Speech has comeback to take a clean sweep of the major guild awards.

Here are my current predictions for who I think will take home this year's Oscars. I will post my personal picks a few days before the awards are announced...I'm keeping them my secret at the moment.

Best Picture - The Kings Speech
Social Network was the main frontrunner that emerged from the Critics awards. But what Oscar history has shown is that the film that dominates the Guild awards will usually dominate the Oscars. Kings Speech took home major gongs at the PGA, DGA and SGA, and for me, that's enough to confirm that Kings Speech will be named Best Picture come Oscar Sunday.

Best Director - Tom Hooper, The Kings Speech
Most pundits are currently predicting a split in the Oscars this year: with Speech taking home Best Picture, and Network taking home Best Director. If this happens it would be similar to what happened in 1998 when Spielberg won Best Director for Saving Private Ryan, yet Shakespeare In Love won Best Picture. A split of this kind is rarely seen, and I don't think it'll be seen this year. I say this for the mere reason that Hooper won the DGA, and usually if you win the DGA, you win the Oscar. And the film wins Best Picture, too. Fincher is a more established director of the too with a more comprehensive body of work, but I think Hooper will win here.

Best Actor - Colin Firth, The Kings Speech
Firth has this one in the bag. I really can't see anyone else winning this. He has literally won every precursor award in sight: he is a nice, likeable guy, who delivers a stellar performance with a sympathetic character. Bet your house on him winning.

Best Actress - Natalie Portman, Black Swan
Portman confirmed her frontrunner status and likely win by picking up the SGA trophy. She's the clear frontrunner here but, unlike Best Actor, she does have a challenger in Annette Benning. Benning has been snubbed many times by the Academy, who could feel the need to reward her for convincing role in The Kids Are All Right. However, I think Portman will win here.

Best Supporting Actor - Christian Bale, The Fighter
As with Firth, Bale's pretty much got this one signed and sealed. He is the clear frontrunner and has been all season. The only thing that could stand in his way is if the Academy decide to give a sweep to The Kings Speech, in which case Geoffrey Rush may get in. But Rush already won in 1996 for Shine, and I doubt it'll happen here.

Best Supporting Actress - Melissa Leo, The Fighter
This is the most open of all the categories this year. Leo has emerged as the frontrunner following her SGA win, but she could still lose out here. Especially if she splits with the vote with co-star Amy Adams, in which case Hailee Steinfeld (Winters Bone) could sneak in. But safe money at the moment is Leo. The BAFTA will be a good indicator. If she wins that, she's got it sealed.

Best Original Screenplay - The Kings Speech
Don't read too much into Christopher Nolan's WGA win. Kings Speech was inelligible and wasn't in contention at the WGA. If it was, it most surely would've won. Expect it to win in this category. However, they may feel the need to validate Inception (a film which was sorely snubbed in some major categories), and may look to this category to do it. But I think they love Kings Speech too much to do it.

Best Adapted Screenplay - The Social Network
Social Network won't win Best Picture. It MAY win Best Director. What it definitely will win is Best Adapted Screenplay, and the Academy will definitely look to reward it here. I don't see too much of a challenge coming from the other contenders.

So those are the major categories. I will give you my full predictions on all the categories a few days before the Oscars, but thats how I see the main awards going down. The Kings Speech to take home 4 big ones with Picture, Director, Actor and Original Screenplay. The Fighter will pick up Supporting Actor and Supporting Actress, Black Swan to take Best Actress, whilst Social Network will scoop Best Adapted Screenplay.

ACADEMY AWARD NOMINATIONS: MY REACTION

So the nominations for this year's Oscars were announced this week. I must say that I haven't been overly impressed with this year's selections. The films that have received a lot of hype, to me, failed to live up to the expectations. Same as with 2009 where I think The Hurt Locker was hugely overrated (Inglorious Basterds should've won). Of course, as with every year, the Academy makes some glaring omissions. I am going to look at each main category and discuss my feelings on the selections -there are one or two films I've yet to see, but I feel I've seen enough to be able to make comment:

BEST PICTURE

127 Hours
Black Swan
The Fighter
Inception
The Kids Are All Right
The Kings Speech
The Social Network
Toy Story 3
True Grit
Winters Bone

I hate the fact that its ten nominees and not five. Realistically, to be in the running, you have to have a Best Director slot. So that means the race is between Black Swan, The Fighter, The Kings Speech, The Social Network and True Grit. Of these films, Kings Speech is the best. To be honest, I fail to see why The Social Network, Black Swan and The Fighter have received so much acclaim. They are good films, but really they don't stand out at all. I have three favourites from thid bunch, either one I wouldn't mind winning: that being The Kings Speech, Inception and Toy Story 3. I feel they are the strongest contenders from this bunch, and I will make my personal pick known closer to the time.

Biggest snub: Shutter Island
Its disappointing that, in a field of 10, Shutter Island didn't make the cut. Yes it rubbed people up the wrong way, but its technically a strong movie and has some very gripping performances. Should've made the list here.

BEST DIRECTOR

Darren Aronofsky - Black Swan
Ethan & Joel Coen - True Grit
David Fincher - The Social Network
Tom Hooper - The Kings Speech
David O Russel - The Fighter

An overall solid group of directors here, but the race is most certainly between Fincher and Hooper. It could go either way. Personally, I am not a fan of The Social Network, so if I had to chose from this bunch I'd vote for Tom Hooper.

Biggest snub: Christopher Nolan - Inception
A familiar story repeats itself again: Christoper Nolan, as with The Dark Knight, is robbed of a Directing nomination. This is a shocking omission from the Academy as Inception was the best directed film of the year. Nolan can take solace in his nomination in the screenplay category, but this is most certainly a slap in the face from the Academy.

BEST ACTOR

Javier Bardem - Biutiful
Jeff Bridges - True Grit
Jesse Eisenberg - The Social Network
Colin Firth - The Kings Speech
James Franco - 127 Hours

Whilst I felt the absence of really strong films this year, the acting department kept at an extremely high level with some fantastic performances across the board. This category is extremely strong, but for me personally its between Firth and Franco. Both giving complex and extremely layered performances on each side of the spectrum, its difficult to differentiate between the two performances. I will give my personal choice in my final precitions.

Biggest snub: Leonardo di Caprio - Shutter Island
Say what you like about the film, but Di Caprio shines in his performance as the tormented Marshall trapped on the chilling island. His performance in Inception, and this film, have gone fairly unnoticed this season, and its a true pity because he really did a fantastic job this year.

BEST ACTRESS

Annette Benning - The Kids Are All Right
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winters Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine

It's Benning vs Portman in this one. Personally, I feel Benning is the better overall actor and gives the better performance of the two. I really hope she pulls this one off because she has had a distinguished career (can we ever forgive the Academy for snubbing her performace in American Beauty??..sigh). But I think Portman will probably win here.

Biggest snub: Julianne Moore - The Kids Are All Right

Benning was the main star of the movie, but Moore also gave a fantastic performance in a movie that was definitely an "actors" movie. Would've liked to see her nominated here.

BEST SUPPORTING ACTOR

Christian Bale - The Fighter
John Hawkes - Winters Bone
Jeremy Renner - The Town
Mark Ruffalo - The Kids Are All Right
Geoffrey Rush - The Kings Speech

A pretty solid line up in this category as usual, but Christian Bale will win this for sure. He probably gives the best performance of the bunch, but I felt the real best supporting actor wasn't even nominated (see below):

Biggest snub: Andrew Garfield - The Social Network
I was extremely disappointed not to see Garfield's name mentioned on Oscar morning. He most certainly was best thing about The Social Network, and in mind gave the most honest and real performance of the lot. He would've had my vote if nominated, but alas, the Academy makes another stupid mistake.

BEST SUPPORTING ACTRESS

Amy Adams - The Fighter
Helen Bonham Carter - The Kings Speech
Melissa Leo - The Fighter
Hailee Steinfeld - True Grit
Jacki Weaver - Animal Kingdom

I think Amy Adams gives the best performance amongst this group. Her acting definitely stood out amongst the rest of her cast mates, but I got a feeling Melissa Leo will end up winning.

Biggest snub: Marion Cotillard - Inception
Cotillard put in a great performance in Inception, and would've been nice to see her nominated here as well.

Other notable snubs:

Inception for Best Editing (what the hell?? It is EASILY the best edited film of the year!)
Shutter Island for Best Cinematography (the film was well shot and deserving of some recognition)

There are probably others, but I'm too tired to think now.

Overally, 2010 has been a disappointing year, but not because the movies were poor, its because the movies that were hyped and the major contenders really shouldn't be (I'm looking at you Fighter, Network and Black Swan). I will give my personal picks when I make my final predictions, but its Network vs Kings Speech for now. Whose your money on?

THE KINGS SPEECH (REVIEW)

STARS: * * * *  (4/4)

Did you know that the number one fear in the world is not death, or pain, or heights? No. The number one fear in the world is speaking in front of an audience. In other words: public speaking.

"The Kings Speech", the portrayal of a man literally forced to overcome his inner demons in order to unite a nation to rally together for the outbreak of war, is meticulously layered with emotion and feeling. It is so easy for an audience to feel a disconnection to monarchic and royal characters because, well, they are so disconnected. This film explores the people's need to be shown leadership, and despite the obvious discrepancies, they do look somewhere for that leadership, whilst taking an intimate look inside the lives of the monarchy.

Fortunately for Albert (Colin Firth), or "Bertie" as he is known by his family, he never had to worry about being looked at for leadership. Being the second child of King George V he was out of the spotlight of his older brother David (Guy Pearce), who would become King. David was the confident one, sure in his ways - the more "natural" future monarch. Albert lacks the confidence and desire to be in the spotlight. Not only this, but he suffers from a terrible stammer, which makes it difficult for him to communicate his thoughts properly and clearly. He is often ridiculed by his family and seemingly mocked by the media. The opening scene perfectly captures his plight: he is at the closing of an event at Wembley Stadium, and as part of his royal duties, is required to give the closing speech. He steps up to the mic; daunted, dismayed, almost to the point of tears as he tries to speak. He struggles, hearing the echoes of his disjointed words ringing back and piercing his ears, whilst his supporting wife Elizabeth (Helen Bonham Carter) struggles with emotion watching him struggle. Firth plays his role this with great emotion and sincerity, and there are other wonderful scenes where we feel so much for him, as he is pushed to do something that is just so difficult for him to do (like when his father ridicules him for not being able to speak or his children beg him to tell them a bed-time story).

Albert has tried everything, including one humiliating technique to the next, and has given up hope with any kind of therapist. Until his wife introduces him to Lionel Logue (Geoffrey Rush), a rather unorthodox speech therapist. After some initial resistence, Logue inspires Albert to persist with it, trying to give him some self-belief that he can actually do it. Logue keeps this "patient" a secret from his family and doesn't want any exposure from it, but as the movie progresses, we slowly see Albert adapting to Logue's methods. There are times when he puts on a confident front, only to be vulnerable and weak at mind on the inside.

We all the know the history of what happened here: Albert's father, King George V, passes away and his brother David succeeds the throne as King Edward VII. However, the seeds of displeasure are planted through Edward's infatuation with a divorcee socialite, Miss Simpson. Pressure is on Edward to chose the throne or Miss Simpson. Inevitably, he choses the throne, and abdicates the throne. He is the first monarch to fully abdicate the throne, leaving his younger brother Albert to take over as King. Albert reluctantly becomes King, but as time goes he grows more comfortably into the role, except he now has to deliver his first war-time speech in 1939.

The film's design is very accurate in capturing the essence and dreariness of 1930's England. The use of dreary colours and low lighting is constant throughout the whole film. The costumes are also impressive. But where this film succeeds is in a very subtly layered script, precise direction and honest performances from Firth, Bonham Carter and Rush. They are shown to be human and real, something which is often forgotten bout how royalty is portrayed. Carter delivers a touching performance as Albert's wife as she witnesses her husbands struggles and lack of belief, doing everything in her power to give him the confidence to succeed. Geoffrey Rush plays a slightly odd character, but its in his unpredictable, unorthodox behaviour that he is able to reach the King on that level.

But it is Firth, supported by these two actors, that delivers a truthful, honest and tear-jerking performance as King George VI. We may ask ourselves: "why should we care for a King? Yeah sure, he really has it rough!" But that is exactly why Firth's performance is so amazing in that he brings us to the core and shows the vulnerable, human side of the monarchy, where we as the "common" audience feel a strong connection to his character. He never overplays his performance, and does an amazing job. Expect him to walk away with the Best Actor Oscar this year.

"The Kings Speech" is one of the best made, scripted and probably the best acted movie of the year. There are many memorable scenes in this picture, particularly the beginning and end, but this is truly a film that will live long in the memory.

MY GOLDEN GLOBE PREDICTIONS

The first big award show of the year. Whilst their were some glaring omissions from the group, the Drama category looks fairly strong....the Comedy/Musical? Hmm, not so much.

So without further or do, I'm going to tell you whose nominated and who I think will win, and my own personal pick:

BEST PICTURE - DRAMA

Black Swan
The Fighter
Inception
The King's Speech
The Social Network

Who will win: The King's Speech

The Social Network is the odds-on favourite, but I think the HFPA is going to shower the love on The King's Speech. Winning the Golden Globe is not a determining factor in winning the Oscar (look at Babel. It won the Globe, but The Departed won the Oscar). I still think The Social Network will sweep the Oscars, but I think this is the awards ceremony that will honour The King's Speech. However, the best film of this bunch I feel is Inception.It is Kings Speech vs Social Network, with Inception being a long shot.

BEST COMEDY/MUSICAL

Alice in Wonderland
Burlesque
The Kids Are All Right
Red
The Tourist

Who will win: The Kids Are All Right

No Toy Story 3? Are any of these films better then Toy Story 3? Answer: No. Unforgiveable omission. That said, the best made, scripted and acted film of the bunch is The Kids Are All Right. It will walk away with the Globe in a category that is, quite frankly, quite poor.

BEST ACTOR - DRAMA

Jesse Eisenberg - The Social Network
Colin Firth - The King's Speech
James Franco - 127 Hours
Ryan Gosling - Blue Valentine
Mark Wahlberg - The Fighter

Who will win: Colin Firth - The King's Speech

James Franco was outstanding in 127 Hours, as was Jesse Eisenberg in The Social Network. Expect Colin Firth to continue on his run to the Oscar by getting love here.

BEST ACTRESS - DRAMA

Halle Berry - Frankie and Alice
Nicole Kidman - Rabbit Hole
Jennifer Lawrence - Winters Bone
Natalie Portman - Black Swan
Michelle Williams - Blue Valentine

Who will win: Natalie Portman - Black Swan

This is Portman's category to lose. She's pretty much got this one for a certainty.

BEST ACTOR - COMEDY/MUSICAL

Johnny Depp - Alice In Wonderland
Johnny Depp - The Tourist
Paul Giammati - Barney's Version
Jake Gyllenhaal - Love and Other Drugs
Kevin Spacey - Casino Jack

Who will win: Paul Giammati - Barney's Version

Johnny Depp...seriously? Okay. He's the favourite and will probably win for Alice in Wonderland (unfortunately), but I think he'll split the vote, allowing Paul Giammati to step in. He got the best reviewed performance and, after being snubbed for "Sideways" and "Cinderella Man", he'll get some just reward here.

BEST ACTRESS - COMEDY/MUSICAL

Annette Benning - The Kids Are All Right
Julianne Moore - The Kids Are All Right
Angelina Jole - The Tourist
Anne Hathaway - Love And Other Drugs
Emma Stone - Easy A

Who will win: Annette Benning

The Oscar race is shaping up as "Benning vs Portman", so expect Benning to win here and continue to stake her claim. Moore could surprise, as could Emma Stone, but be safe and go with Benning.

BEST SUPPORTING ACTOR

Christian Bale - The Fighter
Michael Douglas - Wall Street: Money Never Sleeps
Andrew Garfield - The Social Network
Jeremy Renner - The Town
Geoffrey Rush - The King's Speech

Who will win: Christian Bale - The Fighter

Quite a strong category, but expect Christian Bale to win. His biggest contender is Geoffrey Rush, whom the HFPA love. Andrew Garfield could also challenge (if they decide to really love The Social Network), but Christian Bale will win this one.

BEST SUPPORTING ACTRESS

Amy Adams - The Fighter
Helen Bonham Carter - The King's Speech
Mila Kunis - Black Swan
Melissa Leo - The Fighter
Jacki Weaver - Animal Kingdom

Who will win: Helen Bonham Carter - The King's Speech

This is the closest acting category as there is no clear favourite. I'm going to go with Bonham Carter cause I got a feeling they're going to go with The King's Speech. Adams may surprise, but if there's going to be a surprise it'll be Leo. It's Leo vs Carter. Both could win, but I'm going Carter.

BEST DIRECTOR

Darren Aronofsky - Black Swan
David Fincher - The Social Network
Tom Hooper - The King's Speech
Christopher Nolan - Inception
David O'Russell - The Fighter

Who will win: David Fincher -The Social Network

Fincher's the big favourite, and the Globes won't completely shut out The Social Network, so he'll win here. Nolan or Hooper could surprise, and I won't be too surprised if they do, but this one's going to Fincher.

BEST SCREENPLAY

127 Hours
Inception
The Kids Are All Right
The King's Speech
The Social Network

Who will win: The King's Speech

Inception should win this category, but it'll be more love to The King's Speech. The Social Network may surprise in this one.

BEST SONG

"Bound to You" - Burlesque
"You Haven't Seen the Last of Me" - Burlesque
"Coming Home - Country Strong
"There's A Place For All of Us" - Chronicles of Narnia
"I see The Light" - Tangled

Who will win: "You Haven't Seen The Last of Me"

Don't really know or care, but they'll probably give it to one of the songs from Burlesque.

BEST SCORE

127 Hours
Alice in Wonderland
Inception
The Kings Speech
The Social Network

Who will win: Inception

Had a great score that I think is probably too strong to ignore here.

BEST ANIMATED FEATURE

Despicable Me
How To Train Your Dragon
The Illusionist
Tangled
Toy Story 3

Who will win: Toy Story 3

Enough said.

BEST FOREIGN LANGUAGE FILM

Biutiful (Spain)
The Concert (France)
The Edge (Russia)
I Am Love (Italy)
In A Better World (Denmark)

Who will win: Biutiful (Spain)

Only European films in this category (no big surprise). With a big name performance in Javier Bardem...Biutiful to win this one.

Okay, so that's my say. Check back tomorrow to see how many I got right/wrong.

127 HOURS (REVIEW)

STARS: * * * 1/2 (3.5/4)

How often have we taken for granted the simple things in our lives? Our friends, our family, a roof over our heads, water?

Indeed, this is exactly what Aron Ralston (James Franco) had to face when on a fateful day in April 2003, he went exploring and mountaineering in the Grand Canyon. Little did he know, that would be the day that changed his life forever. "127 Hours" tries to recapture the moments, the struggles, the desperation that Ralston had to face. And it succeeds on every level. Director Danny Boyle (of "Trainspotting" and "Slumdog Millionaire") takes us back to the basics of successful storytelling. The premise is simplitistic and has the potential to fail from the get go, but it doesn't. Having a movie that is, essentially, about one character trapped under a rock and unable to move (with very little dialogue) is very risky, but like Robert Zemeckis' "Cast Away", Boyle uses visual imagery and plain human emotion to get his message across.

Indeed, "127 Hours" is very similiar in theme and make-up to "Cast Away" (although 127 Hours is a lot shorter in length and uses more musical score) in that it is essentially about one man being trapped and isolated from the rest of the world. A classic tale of a struggle for survival and return to essential human basics: like water, shelter, food. Boyle uses the camera with some telling shots to create the isolation and seclusion of Ralston. There is one in particular in the beginning where, upon unexpectedly meeting some girls whom he had an adventure with, he falls down from the rocks and his hand is trapped under a boulder. He calls out, hoping for the girls to hear him, a hopeful cry of desperation in his voice. As he looks up the camera pulls away and reveals the enormity and vastness of the Canyon. This brilliant shot sets up the rest of the narrative of the movie: we are immediately told by it that Ralson will not be found, he will not be saved by someone else. The only way he can get out is to do it himself, and so we join him on his tale of survival.

Whilst the film is very well directed and technicaly solid (particularly how they edited and sequenced the shots of Ralston recording his ordeal on his digital camera), it is the performance of James Franco in the title role that makes this film. Just watching the film I can imagine what an emotionally and physically taxing role this must've been for him to undertake. I mean, he is on camera by himself for pretty much the whole film. The entire weight of it is on his shoulders. No easy task by any means, but Franco really puts his heart-and-soul into this one, and we can really feel the desperation and the loss of hope with each passing sequence. It is refreshing to see an actor who has always had potential break out like this, and following an impressive supporting performance in "Milk", Franco announces to the world what a fine actor he really is. Expect him to get some serious Oscar consideration, and all I can say is it is truly well deserved. His performance is the best I've seen so far this year, and indeed this film is one of the best of the year, too.

"127" Hours is based on the book "A Rock And A Hard Place", and is inspired by a true-story. Indeed, it is quite disturbing to hear that this actually happened to someone in real life, but the film succeeds in giving the most accurate and realistic portrayal that could've been made from it. I am sure a lot of people will shudder when they watch this film in certain parts, and for many it may be life-changing. People will take different lessons from this film, but whatever the lesson is, I think its important for us to remember the little things in life...and treasure them every day.

NEW JAMES BOND: OUT IN 2012!

News just in: there will be a new James Bond film that will be released in 2012.

Production was delayed in 2010 because of financial troubles with MGM, but plans have been put in motion for production to begin later this year with the release date set for November 2012. Daniel Craig will return for his third stint as 007 (following his turns in "Casino Royale", 2006, and "Quantum of Solance").

I for one am hoping this is a return to the style of "Casino Royale" as the last instalment ("Quantum of Solance") was a massive disappointment. Its direction and script were all over the place, and to be frank it was a mess of a film. However, Craig did the best he could've done with what he had to work with, and I have no doubt in my mind he will give us another great showing in the next release.

It appears that the film will be directed by Sam Mendes. I am excited about this choice as he is a skillful and masterful director, haven given us such classics as "American Beauty" and "Road to Perdition". Mendes and Craig also worked on "Perdition", so I'm sure Mendes will be able to bring out the best in him again.

AMADEUS (REVIEW)

STARS: * * * * (4/4)

If you were to ask me what film encapsulates the divine art of music, writing, acting and design, that has been moulded into a cinematic masterpiece, the answer would be: Amadeus. Indeed, this film has taken the audio magic of the master, Mozart, and combined it with stunning to visuals to create a work of art that is both bold and brilliant.

Amadeus was adapted from a successful play by Peter Shaffer and is a stylized fictional description of the life of Wolfgang Amadeus Mozart, perhaps the most famed and talented composer in history. The story focuses on the rivalry that existed between Mozart and Antonio Salieri. Whilst a "rivalry" did exist between the two, it is not known to exactly what degree it actually was. However, Shaffer and director Milos Forman give us a portrait of two men driven to the brink of insanity: Mozart by his ambition and overworking, Salieri by his greed and bitter jealousy. This film doesn't attempt to be an autio-biography, but conforms to the classic "myth and legend" plot that has been passed down over the centuries. What is known is this: Salieri WAS a successful, prolific composer, and was well respected during his time. Mozart was a genius, but whilst respected during his time, wasn't given the attention and acclaim that he deserved.

The movie begins after Salieri (F.Murray Abraham), now an old man, tries to commit suicide and is confined to a mental asylum. He is visited by a Priest who, upon hearing the rumor that Salieri confesses to "kill Mozart", promptly arrives at the asylum looking for a confession and redemption. Salieri doesn't give him this. Instead, he takes him on a journey back to the past: when he was a court-composer and Mozart a struggling musician. It starts off when Salieri was a boy in Italy, playing little games, while Mozart was touring Europe "playing for Emperors' and Kings'". Salieri then indulges on his life's mission and offers up a vow to God, begging him to give him the talent to "praise him with music". To some degree, Salieri is granted this: he is taken away from his small town to Vienna, "City of Musicians", and becomes Court Composer to Emperor Joseph (Jeffrey Jones). But its not enough. He desires more then earthly recognition, but rather a divine-like spirit to praise God through immortal music. He then meets Mozart (Tom Hulce), and slowly his deep hatred and jealousy grows to this man. He sees Mozart's talent, so effortless and childlike, and can not undestand why God chose Mozart and not him to be his "instrument".

Forman and his entire team transform themselves into the 18th century environment in which the story takes place. One only has to just sit back and watch the extraordinary design and attention to detail that went into this film: every aspect is meticulously planned and well-thought out. There is a methodness to Forman's direction and (as with "One Flew Over the Cuckoos Nest") he plants us directly in the environment in which the story and actors are in. We feel as if we are in 18th century Europe. When Mozart conducts his operas, we feel as if we are on the stage, there in the moment, feeling the passion and genius of the man. Forman chose to film in Prague, probably the most "classical" of the European cities. Immediately we are given the backdrop of the times. Technically, the film is a masterpiece with authentic looking costumes, amazing production design, skillful editing and breath taking cinematography. The make up in this movie is also impressive as the artists manage to transform Abraham from the young to the old Salieri with poignant ease.

But where this film succeeds it is incorporation of the original music of Mozart. It's only right to have the entire score devoted to the man. Mozart's music is actually another character in this movie: it takes us into the minds and emotions of Salieri and Mozart, what they're feeling, how they're going to react. Forman and Shaffer spent four months writing the script and listened to hours of music, incorporating music and writing scenes around it, and one can see in the final product of the movie and the actors performances how meticulous and successful they were.

The acting in this film is so convincing you see the characters for who they are. We truly believe we are seeing Mozart and Salieri on stage. The ensemble and supporting cast is great, from Jeffrey Jones to Elizabeth Berridge (Costanze, Mozart's wife), but the on-screen chemistry and distinct rivalry between the two main players, Hulce and Abraham, is what lights up the screen. Both are extraordinary in their roles. Hulce portrays the childlike aspects of Mozart with such grace, yet at the same time encapsulating the genius of the man and the seriousness he put behind his work. Abraham gives us a Salieri that is talented but so flawed that he could never really see it. He loses himself in the jealousy, the rage and the anger he has towards Mozart and the God who he believes "betrayed him". The words spoken from his monologues, so poetic, so lyrical, is delivered with aplomb by Abraham who elevates himself to an acting level that very few actors have reached. These two performances will go down in history as being two of the best ever put on screen. Tom Hulce received a well-earned Academy Award nomination, but it was F.Murray Abraham who deservedly walked away with the Oscar. His performance is definitely one of the most iconic in cinema history. Amadeus walked away with 8 Academy Awards, deserving of them all.

Amadeus is a film that delights in both a visual and auditory way. We fall in love with both the main characters, because they are both human and are flawed. But we also fall in love with the other main character: the music. As Mozart says: "I'm a vulgar man. But I assure you, my music is not." Indeed, the characters may have been flawed and imperfect, but this film (most definitely) is not.

THE FIGHTER (REVIEW)

STARS: * * 1/2  (2.5/4)

"The Fighter" should've been a great movie. Really. Its supposed to have everything: drama, action, romance.

So what went wrong?

Okay, well, let's start at the beginning:

It is 1993 in the small town of Lowell, Massachussets. We are joined by Micky Ward (Mark Wahlberg) and Dicky Eklund (Christian Bale) as they wander the neighbourhood, followed by a film crew. Why are they being followed by a film crew? Well, it is a crew from HBO who are tracking the comeback of Dicky Eklund, a young fighter who once knocked out Sugar Ray Leonard in 1978. Dicky is Micky's older brother, and he taught him everything he needed to know about boxing and life. Dicky was Micky's idol. But whatever potential Dicky had quickly evaporated after he fell in with the wrong people and became addicted to cocaine. Micky, however, has chosen a safer path. He is a good boxer. In fact, he is a great boxer who just needs a litte guidance and some luck to get his way. The problem is that he is managed by the wrong people: his mother, Alice (Mellisa Leo) is his manager, and he also gets some help from his father George (Jack McKee), though his advice is often shot down by the rest of his family. He has a travelling band of supporters in his seven sisters who all live at home and seem more interested in Micky making money and boxing then showing any real affection towards their brother.

Micky lands a fight in a bid to start climbing up the boxing hierarchy, but the boxer pulls out the night before, and he is given the option of fighting a replacement boxer. He is told the replacement is unfit and untrained, and ready for the taking. Without thinking much about it, Micky's family urges him to fight (why? oh, well, because they won't get paid if he doesn't). Micky takes the fight, but arrives at the ring and finds the guy outweighs him by 20pounds and is as ripped as any fighter he's ever been up against. Micky does his best, but is taken to the cleaners. He starts to decline, but through the support of his bartender girlfriend, Charlene (Amy Adams), he tries to put his life in perspective. He is offered a wonderful opportunity to train in Las Vegas, away from his family and brother, and make a real run at the whole boxing thing. He wants to do it, but doesn't want to leave Dicky, who is just falling deeper and deeper off the rails. Dicky promises to get Micky money to keep him at home, and after trying a few criminal acts, it all catches up to him in one scene that involves him getting arrested and sent to prison. We really want Micky to actually leave his family and go train with professional trainers because he has potential, he has the desire, but is to afraid to let go of his overbearing family. It is frustrating to watch as we just want Micky to tell them off, but he doesn't.

Where this film falls flat is the connection between Micky and his family, and Micky's inability to actually take control of his own life by his own measures. We just don't feel that his family, particularly his mother and his sisters, have any real concern for Micky other then his fighting. They are just too involved in his affairs. Micky meets Charlene and we start to see him becoming more focused, more determined, but it is his family that is ultimately holding him back. There is one scene, where he is happy in the arms of the women he loves, when the women of his family march to Charlene's house to "demand Micky back". I honestly was so annoyed with this scene and everything about it: the acting by the sisters in this scene (and in the movie as a whole) is rather pathetic and forced, and it was just out of place. Micky is a grown man, a fighter, who should just be left alone to get on with what he has to do.

And that's where this movie doesn't quite make the grade. The characters aren't believable, and the close-knit, concerned family unit that the writers and director were trying to convey, just falls flat because of it.

The acting by the rest of the cast is good: Mellissa Leo's character is really annoying and downright rude and pretentious sometimes, but Leo pulls off a good performance. Amy Adams does a fine job as Charlene and plays quite a different character to what we're used to. Mark Wahlberg's performance gets better as the movie progresses. In the beginning we're not quite sure where he's headed, but it definitely picks up, and in truth we start to really care about him and want him to make the right choices. As with "The Departed", Wahlberg is becoming a better actor with each passing role. Adams and Wahlberg will most likely get some Oscar recognition for their roles.

 But it is Christian Bale that truly carries this film on his shoulders. He puts in a great performance as Wahlberg's crackhead criminal brother, and convincingly gives us a man who had so much potential, but has sunk away to complete nothingness. Bale's transformation is truly remarkable where we truly believe he is Dicky Eklund, the fighter who could've had everything but ended up with just memories. Expect Bale to get some deserved Oscar recognition for this performance, and if you consider his repertoire of work in his career (from American Psycho to The Dark Knight), then it truly is overdue.

The direction is solid, but the best shot scenes were the HBO documentary about Dicky - in prison he gets to see who he truly is. The director did a great job forging these two worlds together. The boxing scenes were also good and realistic. But ultimately, we just don't get a grip on the characters, and in the end we want Micky to find success just for himself, Charlene and Dicky. We want the family to have no joy because, quite frankly, they don't deserve it.

Overall, this is not a bad movie. But as I was watching, I just thought it could've been so much better.

SIDEWAYS (REVIEW)

STARS: * * * *  (4/4)

"Sideways" is a film about wine.

That's the simplistic answer. But in truth, Sideways is a film in which wine serves as one of its many metaphors. It is in fact about the ageing process in life, how we mature and grow, how we decline, and the decisions we make. This film marks a fantastic achievement by director/writer Alexander Payne (who also did the brilliant "About Schmidt"). Payne also penned the script, which is one of the cleverest scripts ever written, and deservedly won "Best Adapted Screenplay" Oscar for this film. "Sideways" seems simplistic in its approach, but its the subtle brilliance in its script and direction that makes this film great.

It starts off with a brilliant opening of Miles (Paul Giammati) who is awoken by builders that want him to move his car. Miles stumbles to the door, hungover from the night before, and moves his car. Miles is a wine connosier who went to a tasting the night before, but wakes up late for a meeting in Los Angeles. He "hurries" through his morning routine and drives slowly on the freeway in order to do the crossword puzzle: the others cars pass him by, but he just continues at his own slow pace. We can take this to be a metaphor that Miles is just cruising through life, not really going anywhere, whilst the rest of the world is passing him by.

"Sideways" is full of metaphors of this nature, subtle meanings and themes, that it feels sometimes like its too much to keep track of. But never does the director manipulate the viewer, and it all just seems so natural - and thats where this film succeeds. The beauty is in its simplicity and subtlety.

Miles is on his way to pick up Jack (Thomas Hayden Church) to take him away for week before his wedding on Saturday. A sort of "bachelor party", per se. They travel up California wine-country to take in the sights and scenery, and good wines that the region has to offer. Jack is an actor who specialises in smaller gigs and commercials. These guys are both characters that have basically failed to live up to their true expectations: Jack is a low-end commercial actor, and Miles is an unpublished author who teaches English to middle school students.They see this trip as one last chance to get crazy, cut loose, and with middle-age approachign, they seek to recapture some of the youth that seems to have just vanished from their eyes. They meet two women, Stephanie (Sandra Oh) and Mia (Virginia Madsen) who join them on their adventures. Jack has no problem connecting with Stephanie, but Miles, who is a depressed, insecure and lonely person, struggles to reciprocate mutual feelings towards Ma. He still hasn't gotten over his ex-wife, and the depression of rejection is really taking its toll.

I won't give away the plot here as you really have to see this picture yourself to fully understand the range of emotions and meaning, but it really is an equiste picture. The acting in this film is outstanding. Sandrah Oh and Virginia Madsen are great in their roles, but it is really the onscreen chemistry of Giammati and Hayden Church that makes this picture. Their characters' were college roommates (one can already imagine a scenario where Jack's character wants to go out to town in the evening, only to be rejected by Miles who wants to study for Monday's test), but their relationship now seems to have soured a little bit. It's probably just age, but they do their best to take comfort in each other. Hayden Church gives a brilliant comedic portrayal of the outgoing, womanizing Jack, but Giammati gives the best performance in this film. He is so convincing in his role and totally loses himself in this emotion-filled character. We feel his pain: every look in his eye, every expression on his face is portrayed with such precision and nuance. Madsen, Oh and Church all got deserved Oscar nominations, but that just doesn't seem fair when you consider Giammati didn't get any. He gives us a truly original, sometimes annoying, but real character in a career-defining performance. There is one scene in particular, where he is on the porch talking with Virginia Madsen's character about wine, where the acting is just truly breathtaking (by both actors).

"Sideways" is a film that has everything: great acting, directing, interesting editing (particulary when we follow Miles and Jack on their first wine tour), and a wonderful soundtrack. But it is the script and Giammati's performance that makes this film a masterpiece. There is so much visual imagery and meaning in this picture that what we are seeing is basically poetry, a poem about life, where everything has meaning. Its up to us to decipher what it may mean.