Observe and Report

I find my biggest difficulty in reviewing movies is that I have a hard time coming to an immediate and fully formed opinion of something. Most films, especially great ones, take time to fully grasp. When I saw There Will Be Blood, I did not review it because I didn't know what to make of it yet. I now think it is among the greatest films of the decade. I find myself at a loss for where to begin on my Adventureland review, a film I just saw and absolutely loved. So it is with luck that I am able to examine Observe and Report with a bit of distance, having seen in a while back and let it sit with me for a few months. Had I reviewed it at the time, I know I would have focused too much on a few problems it had at the expense of some really great stuff. By no means a great movie overall, it is one that deserves a fair bit of credit for being something you don't see a lot of in mainstream films today: ballsy.

Now, there are two kinds of risky movies: those that make you say "I can't believe they just did that," and those that you actually can't believe they just did that. An example of the first kind is There's Something About Mary, which pokes you with a stick to get a response. Observe and Report is an example of the second, a film which breaks the stick in half and beats you with it. Both have their place, and this film is certainly not for everybody. That said, there is a cathartic feeling to be had when witnessing something that is, at times, wonderfully transgressive.

The film follows Ronnie (Seth Rogen) as he patrols his local mall in search of a flasher run amok. But Ronnie is a man with serious mental issues, more akin to Travis Bickle than Paul Blart. He pines for oblivious makeup saleswoman Brandi (Anna Faris), gets into feuds with a local Indian vendor (Aziz Ansari), and antagonizes detective Harrison (Ray Liotta). It's a film not as much about plot as it is about tone, and the tone can be downright unpleasant. Director Jody Hill made a name for himself with The Foot Fist Way and the recent HBO comedy Eastbound and Down, and he is known for examining unsympathetic characters in funny ways. Here he does it again, and either you can accept it or you will hate the whole movie.

For me, I found it pretty easy to accept such an unbalanced protagonist. I had a harder time accepting Seth Rogen as that character. I am all for actors playing against type, but Rogen is perhaps a bit too likable as Ronnie. It's the only part of the movie where I felt they were trying to tone down the viciousness of the comedy by having someone a bit safe play the part, as opposed to using someone like Danny McBride, who seems like he was meant to play the part and would have done it absolute, unflinching justice. But then, perhaps that would have been beyond the pale for most audiences. Rogen does have a vulnerable side to him that works especially well in the scenes with his mother, so it is a bit of a trade off.

People might expect Anna Faris to be a standout, but she is relatively minor in the film and often a bit grating (albeit intentionally so). The real supporting standout is Michael Pena of Crash fame. Who knew he had this in him? His character is hilarious but initially extremely ancillary. It is a pleasant turn of events when he suddenly comes to the forefront and steals the film from everyone else. He turns out to be just as screwed up as the rest of the cast, but in such a fun way he almost seems to be from another movie. His final scene in the film is one of the most memorable, as well as a wonderful visual experience. I could see Pena becoming something akin to John C Reilly, a man known for his brooding turns in dramas that finds his real calling in comedy. Let's hope so, because he really is wonderful here.

I keep saying this film finds comedy in breaking conventions, but I fear that by saying that I have already taken away a bit of the film's power. You don't expect this film to go the places it does. Ultimately, I need to explain what it is about this film that makes it stand out, and that transgressive comedy is what makes it unique. It can be uneven at times, but when it works, it really works. I usually don't say people absolutely need to see a movie I only give 3 stars to, but this is a film that demands to be grappled with, flaws and all. You will definitely want to talk about it after. I've had about 6 months to think on the film, and I can't shake the fact that Observe and Report has perhaps the funniest, most unexpected moment I have ever see in a film. I do not say this lightly. In fact, that's a statement I don't think I've ever said before. But there it is: I laughed for so long after one scene in this movie that the film was over before I completely regained my composure. And what's so wonderful about it is that I know that for every person laughing hysterically, there will be another shaking their head is shock as they head for the exit.

Watchmen

When Watchmen was released in book form in the 80s, it was considered the antidote to what had become a tired and predictable medium. It addressed a number of cliches and problems that persisted through superhero comics, and it took the genre into a new and surprising direction. Now we have the film version. Had this come out a year earlier, pre-Dark Knight, it might have been heralded in a similar way. It takes conventions we are used to and tosses them on their head. Unfortunately for the film, it will probably remain in the shadow of that other game changing comic book movie, but it still a refreshing wake up call to the industry and a reminder that not all superhero movies have to be copies of one another.

I think what I like so much about this film is how polarizing it is. It isn't an easy film to like, creating a grim world filled with unlikable characters. A character we assume is supposed to be a hero shoots and kills a pregnant woman, while another one stands by and does nothing about it. Another character decides that it may be worth killing millions of people if that would save the rest of the world. This is a film that pokes and prods you, asking that you question what being a super hero entails, what they should be allowed to get away with. People who want to see some cheap thrills and likable characters will be in shock.

Director Zach Snyder is not the guy I would have thought of when I heard this was going to be made into a movie. His 300 was the exact opposite of everything Watchmen is about. That was a film that you weren't supposed to think about, just pay your money and watch the pretty visuals and the visceral gore. He is a filmmaker more interested in making something look cool than in coaxing out great performances. So I was certainly dreading his take on what was essentially an actionless superhero story filled with deeper than normal characters and numerous entertwining themes. Having seen and enjoyed the movie, I'm still not sure he was the right guy for this, but he certainly didn't ruin it. It's clear he didn't totally understand and appreciate every nuance of the novel, but he got the broad strokes. This is a film that could easily have gone horribly wrong if it had been in the hands of someone who didn't care, so I am thankful that Snyder demanded that his movie not compromise. I can handle his overuse of slow motion and ramped up violence if it means the rest of the story stays largely in tact.

I do think that Snyder failed his actors. To allow Malin Akerman to give a performance that wooden is inexcusable. She seems lost, unsure of what is going on. To be fair, she probably had to act against more visual effects than anyone else. Also, Matthew Goode was largely miscast as Ozymandias, the smartest man on Earth. He seems a bit too arch and youthful to pull off the character. The rest of the main cast do well, however. Jackie Earle Haley is every bit as good as I thought he would be. Patrick Wilson really transformed himself, selling his character as a likable schlub who misses the good old days. And even though he was largely a voice actor, Billy Crudup really shone as Dr. Manhattan. He was able to make the character both detached and sorrowful at the same time, a task I doubt many actors could pull off gracefully. Being a film with multiple main characters, I found myself enjoying his scenes the most.

The mere fact that a movie like this exists delights and tickles me. To unleash such an unrepentantly dark, unforgiving, unlikable movie onto the masses under the guise of a superhero blockbuster is a bit of a shock. I hope people don't just dismiss it simply because they can't cope with it on its own terms. I fully appreciate that this is a flawed film in many ways. The visual style is goofy. The length is unwieldy. The music is so on the nose. Flashbacks come from out of nowhere and go on for ten minutes at a time. It's almost slavish in the way it adheres to the structure of the book at the cost of flowing as a movie. I embrace the film in spite of (and maybe even slightly because of) these flaws, and all are great reasons to not like Watchmen. But to not like it because it challenges you to question what you think about this kind of film, to come up with your own opinions instead of being force fed them says more about the watcher than the film itself. Watchmen is a film that is supposed to be discussed, and whether you love it or hate it, you will want to discuss it.

Another Year In The Can

And there you have it, the most predictable Oscar ceremony in memory. I'm happy that the best film of the five won, although my passion for Slumdog Millionaire is dwindling. Eight Oscars seems excessive, but it's nice to see a film rise above the four or less win streak we've had for half a decade. I was sad to see Mickey Rourke lose, but Sean Penn was not as annoying of a winner as I expected. And congrats to Kate Winslet on her win; it's a performance I was not impressed by, but it's about time she won one of these. Ultimately, I am glad to finally call it quits on 2008 once and for all. With the Oscars handed out, I can finally move on to a hopefully more exciting 2009.

• The show was not the disaster I was kind of expecting. Hugh Jackman did a nice enough job hosting, although his presence was at times nonexistent. His musical number at the start was alternately funny and grating, but at least he said what everyone was thinking about The Reader.
  
• The one thing I feel was undeniably bad was the presentation of the acting awards. It just went on and on with the gushing and the backslapping, to the point of utter smugness. And to top it off, we got no acting clips for the performances. That's usually one of the highlights, seeing which clips they would pick, and I was especially curious to see how they'd present Robert Downey Jr and Heath Ledger.
• Loved Jack Black's comment about doing the Dreamworks film so that he could take all his money earned and bet it on the Pixar film at the Oscars. Very funny stuff, and I'm glad to see someone call Dreamworks out on their sub par films.
• Anyone else think it would have been awesome to ditch that one note Ben Stiller presentation for Cinematography and instead get Christian Bale to present? Now that would have been hilarious!
• I can see why Peter Gabriel wanted nothing to do with the ridiculous Best Song medley. Singing "Down to Earth" and "Jai Ho" at the same time was awful.

So that's a wrap. I did pretty well on my predictions. I believe the only category in which both my prediction and backup failed was in foreign film, but with the announcement yesterday that both Waltz and The Class were forcibly inserted into the nominees after not receiving enough votes, I made a personal last minute guess for Departures. I really hope that next year we get a genuine race for Best Picture. I'd rather be wrong and surprised than right. It's just more fun that way!

Oscars: Final Predictions

It'll be nice to have this Oscar season behind us, as it has been anything but exciting. I like Slumdog Millionaire well enough, but it is strange to see it so unanimously heralded as the best picture of the year. This is the weakest lineup of Best Picture nominees in years, which is such a shame, but ultimately a fair representation of the weak year that was 2008. At least some of the acting categories are still fairly wide open.

Picture

• The Curious Case of Benjamin Button
• Frost/Nixon
• Milk
• The Reader
• Slumdog Millionaire

Is it just me or does the Best Picture race always seem to be over before it ever really begins? With the exception of 2005, or course. Slumdog Millionaire is the clear cut winner, and while some might try to find holes in its armor, the fact remains that it is the most awarded movie since Schindler's List. The only real unknown entity here is The Reader, which defied odds (and reviews) to get into the final five. The only reason I can think of to explain it is that Anthony Minghella and Sydney Pollack produced it, so rewarding the film would be one last time to award the two of them after their deaths last year.

Winner: Slumdog Millionaire
Surprise: The Reader

Actor

• Richard Jenkins - The Visitor
• Frank Lengella - Frost/Nixon
• Sean Penn - Milk
• Brad Pitt - The Curious Case of Benjamin Button
• Mickey Rourke - The Wrestler

Now here's an actual showdown. It is honestly a tossup between Penn and Rourke. Both have won about the same amount of awards this season. Both have detractors: Penn just won this award recently, Rourke has had a long troubled history with Hollywood. A part of me wants to say this will result in a tie, something I don't believe has happened since 1969. However, I will go with my heart and say Rourke wins this. Again, neither one would surprise me, and Milk clearly has more support across the board, but I just have to go with Rourke's amazing performance.

Winner: Mickey Rourke
Surprise: Sean Penn

Actress

• Anne Hathaway - Rachel Getting Married
• Angelina Jolie - Changeling
• Melissa Leo - Frozen River
• Meryl Streep - Doubt
• Kate Winslet - The Reader

I believe that if Streep loses this, she will become the actress with the longest loosing streak in history. Which begs the question: how much longer until she wins again? Most of her nominations lately have been a token "you were really good this year" citation, but this is the first time in a long while she actually had a real contender of a performance. I think the Academy feels like they are supposed to finally give it to Winslet, so she's my prediction, but a part of me would love to see Meryl win.

Winner: Kate Winslet
Surprise: Meryl Streep

Supporting Actor

• Josh Brolin - Milk
• Robert Downey Jr - Tropic Thunder
• Philip Seymour Hoffman - Doubt
• Heath Ledger - The Dark Knight
• Michael Shannon - Revolutionary Road

Heath Ledger.

Winner: Heath Ledger
Surprise: Heath Ledger

Supporting Actress

• Amy Adams - Doubt
  
• Penelope Cruz - Vicky Cristina Barcelona
• Viola Davis - Doubt
• Taraji P. Henson - The Curious Case of Benjamin Button
• Marisa Tomei - The Wrestler

Here's one category I'm going to go out on a limb for. With Kate Winslet no longer here like she was all season, it becomes harder to guess the winner. Cruz is the most obvious one: previous nominee, Woody Allen film, a bunch of critics awards. But I think this is going to Viola Davis. People can't stop talking about her scene with Meryl, and this nomination reminds me of the nomination (and win) for Beatrice Straight for Network years ago, another film swimming in acting nominations. Sure, Amy Adams might be splitting her votes, but I think enough people want to reward Doubt in some capacity that it will shine here.

Winner: Viola Davis
Surprise: Penelope Cruz

Director

• Danny Boyle - Slumdog Millionaire
• Stephen Daldry - The Reader
• David Fincher - The Curious Case of Benjamin Button
• Ron Howard - Frost/Nixon
• Gus Van Sant - Milk

Win number two for Slumdog. Boyle has won everything under the sun, and this should be no exception. The only threat I can see is Fincher sneaking in considering what a technical marvel his film is. Pretty much sewn up at this point.

Winner: Danny Boyle
Surprise: David Fincher

Original Screenplay

• Frozen River
• Happy-Go-Lucky
• In Bruges
• Milk
• WALL-E

This appears to be down to a Best Picture nominee vs Pixar. I let my heart dictate the Actor race, so here I'll go with my head. Milk is the obvious choice, in spite of how much they loved WALL-E. While the screenplay was Milk's weak link, I think it has to win somewhere, and if not in acting then here. Pixar will win this award one day, hopefully soon.

Winner: Milk
Surprise: WALL-E

Adapted Screenplay

• The Curious Case of Benjamin Button
  
• Doubt
• Frost/Nixon
• The Reader
• Slumdog Millionaire

A Best Picture has to prove its worth by picking up a few other awards as well, and this seems like an easy win for Slumdog in that regard. However, I feel like Eric Roth has a lot of love in the Academy, so Button could eek it out in a surprise.

Winner: Slumdog Millionaire
Surprise: The Curious Case of Benjamin Button

Cinematography

• Changeling
• The Curious Case of Benjamin Button
• The Dark Knight
• The Reader
• Slumdog Millionaire

In my opinion, Slumdog Millionaire is going to sweep most of the awards it is nominated for, deserving or not. Here it shouldn't win over the visually superior Button and Knight, but it will because most of the voters won't be experts on Cinematography and thus will vote with their hearts. I'm thinking that Button will be the runner up here, being that it actually is the best looking film, and it does have a lot of love.

Winner: Slumdog Millionaire
Surprise: The Curious Case of Benjamin Button

Editing

• The Curious Case of Benjamin Button
• The Dark Knight
• Frost/Nixon
• Milk
• Slumdog Millionaire

Unless there is a film with unbelievably flashy editing, this is usually a gimme for the Best Picture winner. So Slumdog should have this one, although The Dark Knight will probably give it a run for its money. Also, if Frost/Nixon is going to make any showing at all, it would be here. Unlikely, though.

Winner: Slumdog Millionaire
Surprise: The Dark Knight

Art Direction

• Changeling
• The Curious Case of Benjamin Button
• The Dark Knight
• The Duchess
• Revolutionary Road

Finally unhindered by Slumdog, Button should be able to get a win for its wonderful recreation of Louisiana over the years. But watch out for The Duchess: period pieces like this one have often been the unexpected winner in the smaller tech categories simply because they recreate a long ago place and time.

Winner: The Curious Case of Benjamin Button
Surprise: The Duchess

Costumes

• Australia
• The Curious Case of Benjamin Button
• The Duchess
• Milk
• Revolutionary Road

Again, a showdown between Button and The Duchess. This time I think they will flip positions. No category has weirder winners than this one, and The Duchess fits right in with the usual winners here.

Winner: The Duchess
Surprise: The Curious Case of Benjamin Button


Sound Mixing

• The Curious Case of Benjamin Button
• The Dark Knight
• Slumdog Millionaire
• WALL-E
• Wanted

No achievement is greater this year than the use of sound in WALL-E. Unfortunately it has two things going against it: a Best Picture and a loud blockbuster. Because I think WALL-E has to win a couple of awards, I will go with my heart on this one. However, I think both Slumdog and Knight could so easily slip in.

Winner: WALL-E
Surprise: Slumdog Millionaire

Sound Editing

• The Dark Knight
• Iron Man
• Slumdog Millionaire
• WALL-E
• Wanted

I feel a little better calling this for WALL-E, as the actual creation of the sounds in this film is what was really special about it. This time there are two blockbusters challenging, but I think Iron Man loses because it didn't get in the other sound category. That leaves The Dark Knight as the real challenger here. I expect Knight to go home almost empty handed, so a loss here won't surprise me too much.

Winner: WALL-E
Surprise: The Dark Knight

Visual Effects

• The Curious Case of Benjamin Button
• The Dark Knight
• Iron Man

The visuals in Benjamin Button are amazing, the kind that make you wonder who they did it. That should be enough to secure the Oscar. The Dark Knight had too subtle effects to win, and Iron Man feels like your usual summer blockbuster effects: not special enough to stand out for a win.

Winner: The Curious Case of Benjamin Button
Surprise: Iron Man

Makeup

• The Curious Case of Benjamin Button
• The Dark Knight
• Hellboy II

While it seems obvious that Button will win this, there is the visual effects problem to ponder. Can people tell what is makeup and what is visual effects? If not, then it might lose. Hellboy, while filled with makeup, is a sequel to a film that got no such nomination. I can't imagine the voters will suddenly be taken with something that didn't tickle their fancy the first go around. The Joker makeup in The Dark Knight is already iconic, so if Button falters at all, I see that as the likely film to slide in.

Winner: The Curious Case of Benjamin Button
Surprise: The Dark Knight

Song

• "Down to Earth" - WALL-E
• "Jai Ho" - Slumdog Millionaire
• "O Saya" - Slumdog Millionaire

Fox Searchlight took a sneaky, mean route this year by disowning "O Saya," instead asking that voters focus only on the other song. This could mean that Slumdog will win in what should have been an otherwise easy one for WALL-E. My success rate in this category has been unusually high this decade (I believe I've called it just about every time), but I am more uncertain this year. I'm sticking with "Down to Earth," but it will be close.

Winner: "Down to Earth"
Surprise: "Jai Ho"

Score

• The Curious Case of Benjamin Button
• Defiance
• Milk
• Slumdog Millionaire
• WALL-E

Will Danny Elfman ever win this award? I hope so, but it won't be this year. Instead, this will be another easy one for Slumdog. Thomas Newman, with WALL-E, is one of the most nominated composers without a win. But because he is nominated for "Down to Earth" as well, I think he will be ignored here under the assumption he will win elsewhere. Plus, Slumdog is the kind of score they love to reward: ecclectic, multicultural, and memorable.

Winner: Slumdog Millionaire
Surprise: WALL-E

Documentary

• The Betrayal
• Encounters at the End of the World
• The Garden
• Man on Wire
• Trouble the Waters

While it's not one of his best documentaries, I would give anything to see Werner Herzog win his first(!) Oscar for Encounters, if only to hear him speak. The man is a living legend, the likes of which we rarely see. Rant aside, this is down to Man on Wire and Trouble the Waters. Because voters have to see all five nominees before they vote, surprises are more likely to happen. Wire is the populist choice, but i've heard rumblings that Waters is the more impactful film.

Winner: Man on Wire
Surprise: Trouble the Waters

Foreign

• The Baader Meinhof Complex
• The Class
• Departures
• Revenge
• Waltz With Bashir

Can an animated film really win the Foreign film Oscar? It looks like it, although I wouldn't count out The Class just yet. Those two seem to be locked in a fight to the end, although I suspect Bashir wins it.

Winner: Waltz With Bashir
Surprise: The Class

Animated

• Bolt
• Kung-Fu Panda
• WALL-E

Pixar's best movie yet seems like the most obvious win of the night. That said, Panda did sweep the Annie awards earlier this year. Could there be a backlash against the geniouses at Pixar for dominating this category year after year? Possibly, but if so, why don't they just do away with this silly category and allow Pixar to stand on its own with the big dogs?

Winner: WALL-E
Surprise: Kung-Fu Panda


So can Slumdog Millionaire really win six Oscars? I think so, perhaps even more (FYI, I predicted the same tally for last year's winner and was high by two). What a weird year this turned out to be. I can't help but wonder how different this whole race would have been if a juggernaught like The Dark Knight had been in the final five, but we'll never know. So good for Slumdog Millionaire, my favorite of the five.

And The Nominees Are...

It's that time again: Oscar nominations! A few thoughts:

• I love the Oscars, and I love that they've been embracing small films recently instead of caving in to the mainstream, but they really screwed up this year. They had two genuinely great blockbusters they could have nominated, and instead they went with The Reader. I swear, you could almost hear the embarrassment in Sid Ganis's voice as he begged us to join him on the most exciting night of the year. Mark my words: lowest rated ceremony ever.
  
• The one category they seem to have gotten right is Original Screenplay! I can't believe they remembered In Bruges, my favorite screenplay of the year. And WALL-E is not a film you might think screams screenplay, so I'm glad they realized how well written it really was.
  
• 4 acting nominations for Doubt but no Picture nomination? Kind of surprising.
  
• No song nomination for The Wrestler but two for Slumdog Millionaire? What were they thinking?
• WALL-E ties Beauty and the Beast for most nominations for an animated film ever.
  

Best Picture

Nominees:

• The Curious Case of Benjamin Button
  
• Frost/Nixon
  
• Milk
  
• The Reader
  
• Slumdog Millionaire
  

Which ones I've seen: Luckily (if you can really call it that) I caught The Reader just hours ago, so all five.
Who should win: Slumdog Millionaire
Who will win: Well, at least my favorite of the five is going to win Best Picture, if that's any consolation...
Possible upsets? Benjamin Button is the only one with a shot at upsetting, mainly due to it being the only big picture of the bunch.


Best Director

Nominees:

• Danny Boyle, Slumdog Millionaire
  
• Stephen Daldry, The Reader
  
• David Fincher, The Curious Case of Benjamin Button
  
• Ron Howard, Frost/Nixon
  
• Gus Van Sant, Milk
  

Which ones I've seen: All of them. It's very rare that the five directors line up with Picture. Even if they didn't want to embrace The Dark Knight for Picture, I'm even more shocked that Nolan was left out.
Who should win: Boyle, I guess. Not a big fan of any of these directing jobs. I love Fincher in general, so I guess a win for him would feel nice in a career achievement sort of way.
Who will win: Boyle. I wouldn't be surprised to see a sweep by Slumdog.
Possible upsets? Again, Fincher's film seems to be the only real threat.


Best Actor

Nominees:

• Richard Jenkins, The Visitor
  
• Frank Langella, Frost/Nixon
  
• Sean Penn, Milk
  
• Brad Pitt, The Curious Case of Benjamin Button
  
• Mickey Rourke, The Wrestler
  

Which ones I've seen: All of the above. I'm getting a sneaking suspicion I've seen all the nominees in the major categories for the first time ever.
Who should win: Wow, this is pretty close to great, actually. While I'm not a fan of this particular performance, good for Pitt on finally being recognized again. My pick would be Rourke.
Who will win: Penn seems like the obvious choice right now.
Possible upsets? However, I think Rourke will very likely spoil Penn's parade. Langella would be a not too distant third.


Best Actress

Nominees:

• Anne Hathaway, Rachel Getting Married
  
• Angelina Jolie, Changeling
  
• Melissa Leo, Frozen River
  
• Meryl Streep, Doubt
  
• Kate Winslet, The Reader
  

Which ones I've seen: Again, all.
Who should win: Leo! I can't believe they actually remembered the best female lead of the year!
Who will win: Winslet. They've been waiting so long to give it to her, they'll feel like they have to at this point.
Possible upsets? Streep seems like a genuine threat, though. Very few actors can win more than two Oscars in a career, but she is probably one of them.


Best Supporting Actor

Nominees:

• Josh Brolin, Milk
  
• Robert Downey Jr, Tropic Thunder
  
• Philip Seymour Hoffman, Doubt
  
• Heath Ledger, The Dark Knight
  
• Michael Shannon, Revolutionary Road
  

Which ones I've seen: I've seen everything, I've seen it all.
Who should win: Ledger, obviously.
Who will win: The one certainty of the night - and this whole year - has been Ledger's win here.
Possible upsets? I can't even fathom who could beat him. Brolin, probably. How awkward would that feel to win over Leger, I wonder?


Best Supporting Actress

Nominees:

• Amy Adams, Doubt
  
• Penelope Cruz, Vicky Cristina Barcelona
  
• Viola Davis, Doubt
  
• Taraji P. Henson, The Curious Case of Benjamin Button
  
• Marisa Tomei, The Wrestler
  

Which ones I've seen: Wow, I really have seen all the major nominees. I wonder how I did on screenplays...
Who should win: Penelope Cruz. Delightful performance, that one.
Who will win: I think Cruz has this one. Woody Allen has a history of getting his ladies Oscars.
Possible upsets? Watch out for both Viola Davis and Marisa Tomei. Davis gives a resonating performance, while Tomei has been gunning to prove her last win wasn't a mistake.

So, there we have it. The last five years years have had some pretty great Pictures nominated, so it's kind of sad to see that streak end. This is kind of the final nail in the mediocre coffin that was 2008. Some of the smaller categories at least got it right. But again, my mind has been boggled. Really, The Reader?!

The Curious Case of Benjamin Button - 13
Slumdog Millionaire - 10
The Dark Knight - 8
Milk - 8
WALL-E - 6
Doubt - 5
Frost/Nixon - 5
The Reader - 5

The Curious Case of Benjamin Buton

I consider myself to be far more patient with long movies than most. It's my belief that if a movie needs three hours to tell its story, I'm happy to indulge it. Indeed, what a delight it can be to stumble across a movie you wish would never end? So involved in the world it has created, you could explore it for hours. The Curious Case of Benjamin Button is three hours long, and on the face of it, it certainly sounds like it warrants that run time. This is the entire life story of a man, and no ordinary man at that. So I was more than happy to allow it the time it felt it needed to unravel its story. Perhaps the thing that struck me most upon leaving the cinema, then, was how little it did with that extended run time, and how the length seriously damaged what could have been one of the very best films of the year.

The premise is pretty straightforward, yet endlessly intriguing: what would a man's life be like if he was born old and died young? Apparently it would be almost exactly the same as any other life, save for a few minor details. Benjamin Button (Brad Pitt) may look old when he is born, but he is a child at heart. And he may look like a kid when he's dying, but he's truly senile. Much of the hardships and benefits of living a life backwards are completely glossed over. Aside from a few "You sure are old to be doing X" comments, nothing is really made of his condition (disease?) by others. Perhaps the only part of his life - and the film - affected by this peculiarity is his realization that he would be dooming whoever he loves to take care of him in his final years. Which is pretty much exactly how it goes for any elderly person. Indeed, it's a premise not fully realized. It seems instead that it is merely a device used to examine one man's life. And what a dull man that is.

Button experiences no major moments in his life that warrant a cinematic telling. Much of his life is spent listening to other people tell him their stories, many of which seem far more interesting than his. Perhaps that's the point, but it sure isn't worth making a three hour movie about. The whole cast is very solid. Front and center in Button's life is Daisy (Cate Blanchett). Blanchett gives a great, understated performance. She relies on no gimmicks, no big moments of emotion. She simply inhabits a character, and it works well. Taraji P. Henson plays Button's adopted mother, and she brings warmth and humor to the role. And the fact that she is working at a retirement home allows for some amusing moments between Benjamin and the older folks. Key to the movie, however, is of course Brad Pitt. Pitt plays Button for almost all of his life. The more I reflect on it, the more I really appreciated his work as the physically older, mentally younger Button. It must be pretty hard to play both old and young at the same time, but he's very convincing at it. But again, he is given no real moments to shine, either, so it's easy to forget about him in the midst of all the technical wizardry on display.

In many ways, I would argue that David Fincher is the visual wunderkind of film making today. His films are so visually beyond anything else out there, yet they never draw attention to themselves. Watch the special features on the Zodiac DVD and you'll be blown away by how much CGI is used in a seemingly visual effects free film. Here he steps up his game in stunning ways. The creation of Benjamin Button as a character is mind boggling. I have no idea how they did it, nor are there any seams in the creation that might allow you to figure it out. That can't possibly be Brad Pitt, but yet it certainly can't be someone else, either. And the cinematography from start to finish is perhaps the most striking, enchanting, and beautiful of the year. In spite of how little money Fincher's films usually make at the box office, he keeps getting huge budgets. As a film fan, there are few things to be more thankful for, as he knows how to spend every dollar to make the best visual experience possible.

The mundane story is what drags down an otherwise enchanting film. So many great themes are brought up, a number of asides from supporting characters are delightful (especially the story of the clockmaker who made his clock run backwards), and the visuals are stunning. Yet it's that three hour run time that ultimately undermines it all. All those things matter very little if you can't get into the story. Button's life is simply not a very eventful one, but it should have been. How is he never taken to a doctor once? Even if not for his obvious problem, did he never get sick once, or break a bone? Surely then a doctor would see him and want to study him. I feel like this film didn't explore the concept nearly as well as it could, which is a shame considering how good everything else about it is.

2008: Top 10

These end of the year lists are both a blessing and a curse. It's fun to reflect back on the year in cinema and remember the best the year had to offer. Sometimes you get a year like 2007 where you have an abundance of riches to choose from. And then there are years like 2008. 2008 was not a great year for movies. I know last year I said I should refrain from making that kind of sweeping generalization as it will come back to bite me. That said, it's undeniable that my top 10 this year did not excite me the way my top 10 did last year. That is not meant to be an insult to the films listed below - far from it. I've been spoiled the last two years by having a number one film that I was in love with. That didn't happen this year. I love my number one, but that's not quite the same thing. I think having the kind of anchor in my top 10 list that both Once and Children of Men provided in the past would help me to feel more comfortable with the rest of my list.

A few notes before we get things started. I tried to see everything I could, but a few films got past me. Timecrimes, Dear Zachary, Che, The Reader, Valkyrie, and City of Ember are films I hope to catch in the near future. The first two in particular are unfortunate in that they really sound like my kind of films. I also want to point out how frustrating the release system was this year. I felt like I was scrambling to see far too many movies at the very end of the year. It's really disappointing that studios feel the need to hold so much back until December. Not only does this mean some films won't make my list because I didn't see them, but others don't have the proper time to sit with me. I saw Benjamin Button only this morning, and while it probably wouldn't make my top 10, I feel like it's too big to digest this quickly. Some films in my top 10 are likely to fluctuate big time in the coming month as I get time to think about them, namely The Wrestler, which could rise even higher if given the time. In short, this is a top 10 in flux. Not as complete as last year's, but with about 60 films screened it's a pretty good approximation of what I liked about 2008.

10. The Visitor

As film after film fell by the wayside in the last month, I began to look back on some of the smaller films of 2008 to fill out this list. The Visitor, from writer/director Thomas McCarthy, proved to be the true keeper. I loved his last film, The Station Agent, and here he touches on many of the same themes - namely loneliness and how people discover themselves through their relationships with others. It's delightful to see Richard Jenkins get such a great lead role for once, and he does a perfect job with the part. Really, the whole cast is a delight, working well off of each other to give you a warm feeling, even as things don't go so well for the characters. You know that in spite of what happens to them, everyone will be better off for having known each other.

9. Pineapple Express

I'll admit, I wasn't expecting much from this film after the opening scene. Stoner comedies are among the least funny films out there. They always go for the easiest jokes, and this starts off doing just that. Thankfully, this rose above that to deliver both a very funny film and a great examination of friendships. That last scene where the three heroes are reminiscing about what they'd just been through is perhaps the highlight of the whole thing. These guys are like kids who just had a fun adventure, and they even get a ride home with one character's grandmother. Brilliant. Special notice should go to James Franco, who gives such a fully realized performance that goes beyond just being funny. Oscars, please take note.

8. Frost/Nixon

I'm surprised Ron Howard had such a strong film in him. Usually he's content to go the bland, easy route (The Da Vinci Code), but here he takes two great actors and a strong script and lets that carry the film. Both Frank Langella as Nixon and Michael Sheen as Frost give career best performances, which should be no surprise given that they've had time to perfect them on stage. Perhaps the most unexpected delight of this film is how funny it is. It could easily have been a quiet drama, but the writing allows for some very funny moments. Nixon's reaction to having to film a segment called Nixon: The Man is hilarious. This is the kind of movie that I could see myself watching any time it pops on TV, which goes a long way when you really think about it.

7. Rachel Getting Married

This is, to me, the biggest surprise of the year. Everything else in my top 10 had something going for it prior to watching it. This was a film I was dragged to against my will, and indeed, resisted for half the run time. But slowly I allowed it to wash over me, and I found such a warm, wondrous delight of a film inhabited by so many great characters. The key to this film is that it's presented as simply a fly on the wall look at this wedding. No pretense, no narrative, just a family getting together to celebrate one daughter's wedding. The performances are great across the board, but the one person who has been overlooked this year is Bill Irwin. His performance really made me think hard about whether or not Heath Ledger is the best supporting actor of 2008. He felt so real to me, so honest, that I felt his every emotion. His reaction to learning he is going to be a grandparent is a moment to cherish in 2008.

6. The Wrestler

Darren Aronofsky is really proving to be a versatile director. Who'd have guessed he could turn out a film like this just two years after The Fountain? Mickey Rourke is the heart of this story, and you you come to feel for him in ways you wouldn't expect. I wouldn't have thought a film about wrestling could ever provide such depth, but these are people with a fascinating and largely untold story. Seeing the way they plan out their fights before hand, the genuine camaraderie between fighters, and the way they turn out washed up and alone at the end of their careers is unexpectedly riveting stuff.

5. Slumdog Millionaire

The great achievement of this film is how is really takes us right into the world of Indian slums. It opened my eyes to a people I knew little about. It's also a fun, inventive, and charming film. It's going to be interesting to see if this really can take Best Picture this year, and right now I suspect it will. Kudos to Danny Boyle for taking what could have been a schmaltzy story and injecting it with real emotion, jubilation, struggles, and hardships. And that final dance number really hits home how uplifting the story ultimately is.

4. In Bruges

Martin McDonagh made his first feature length film here, and it is an unexpected emotional roller coaster. In Bruges is both darkly hilarious and quietly sobering. I won't give away its secrets, but the film takes some dark and surprising turns as it tells its story. I love films that can make you laugh out loud at one moment, then have you get a bit teary eyed the next. Colin Farrell gives easily his best performance as a hitman who made one horrible mistake. Watching him cope with his grief is unexpectedly moving. The film's real secret, though, is Brendan Gleeson as Farrell's partner. Faced with a moral crisis of his own, he drives this great film home.

3. WALL·E

I knew this was going to be something special when I first heard about it, and sure enough, it stands high atop a mountain of Pixar films to be their best yet. I love that Pixar is willing to take such risks with their films, not going for the easy sell. Who else would have the guts to make an animated kids' film that has no real dialogue to speak of for most of the run time? The animation is truly stunning, leaps and bounds beyond what anyone else is doing these days. It's going to be hard for Pixar to top this one, but if anyone can do it, it's these guys.

2. Let The Right One In

This came so close to number one that I may still switch it. Time will tell. I mentioned earlier that there are films I am in love with and films I love. My number one film is not an easy one to be in love with, but this one is. Which is kind of weird considering this is a Swedish film about a child vampire forging a relationship with a school recluse. But it's so damn moving. The child performances are spot on, especially Lina Leandersson as the vampire. I know not many people have seen this one yet, nor will they considering what it is. But if you ever come across this one, please give it a shot. You've never seen something quite like this, and it has the most unexpectedly satisfying, thrilling, and deeply moving ending for any film this year.

1. The Dark Knight

After 4 viewings, I simply can't deny this is the strongest film of the year. The Dark Knight was my most anticipated film of the year, and miraculously it lived up to and exceeded those expectations. Batman has long been my favorite comic book character, and it has been a delight to see him get such a fine treatment in cinema. I never in my life would have dreamed that people would be talking about a Batman film being a serious contender for a Best Picture Oscar, but here we are. Obviously, at the center of this epic masterpiece is Heath Ledger. That final line of his, "I think we're destined to do this forever," just hits so painfully hard knowing that we'll never see him do this again. Far too long we've seen comic book characters treated in a jokey manor (Sam Raimi, I'm looking at you). It feels validating to see someone treat these kinds of stories seriously for a change and reap such huge rewards as a result.