Life. Blogged.

THE GHOST WRITER (Summit - Feb 17) Roman Polanski earned strong reviews for this Hitchcock-style drama in which Ewan MacGregor ghostwrites the memoirs of a former British Prime Minister played by Pierce Brosnan. It has a Rotten Tomatoes rating of 84% fresh  and did well by indie film standards. Oscar Chance: Summit will have to step up to the plate in order to revive it. Insiders at the distrib have special hopes for a Brosnan supporting bid.

SHUTTER ISLAND (Paramount - Feb 19) Paramount had initially penciled in this fine Martin Scorsese thriller starring Leonardo DiCaprio for last season’s awards race. But financial considerations led them to move to the very unfriendly Oscar territory of February. Yet it became the legendary director’s most successful film ever at the box office, earning $292 million worldwide and receiving good critical notice. Oscar Chance: The studio intends to campaign it and has already sent out screening notices to Guilds and Academy members. But it will be competing with Par’s two year-end entries True Grit and The Fighter for attention from the front office.

ALICE IN WONDERLAND (Walt Disney Pictures - March 5) Tim Burton’s take on the classic tale remains one of the biggest success stories of the year with a whopping billion dollar take at the worldwide boxoffice. Critical response was right down the middle with a 51% fresh rating at Rotten Tomatoes. Oscar Chance: This would seem a natural  bet for the Golden Globes Comedy/Musical categories and lots of technical nods at the Academy, too.

CITY ISLAND (Anchor Bay - March 19) Andy Garcia’s finely-honed comic turn in this New York-centric family comedy could -- and should -- be remembered at Golden Globe time. Oscar Chance: Slim, but the tiny distributor has hired a PR firm to make sure it’s not forgotten. Awards pundits got a DVD in the mail this week.

THE GIRL WITH THE DRAGON TATTOO (Music Box - March 19) The first in the Swedish trilogy became the most successful foreign language release of the year and has created Best Actress buzz for star Noomi Rapace. Oscar Chance: Music Box will have to spend to reap rewards.  Problem is, Rapace has become so hot that she’s now filming the Sherlock Holmes sequel in England and likely won’t be around to promote the final chapter, The Girl Who Kicked The Hornet’s Nest when it opens at the end of the month. She'll miss valuable face time in front of voters.

GREENBERG (Focus Features - March 19)  Focus has set up some screenings and includes it in their Academy ads. But it's not likely to give much support beyond that to this Ben Stiller/Noah Baumbach  passion project which never quite caught on the way they hoped. Oscar Chance: Uh, probably not.

HOW TO TRAIN YOUR  DRAGON (Dreamworks Animation - March 26) Rapturous reviews gave it a 98% fresh rating on Rotten Tomatoes placing it between Toy Story 3 and The Social Network for bragging rights. Top box office  doesn’t hurt, either. Oscar Chance: An animated feature nod is a given. But Dreamworks is aggressively going for the gold with this one, starting with a big DVD launch party next week to renew the fire. Suggestions of not only an animated  category nom but also Best Picture mean they dream big there. But is there room for two toons on that list of 10 which will include Disney's Toy Story 3?

PLEASE GIVE (Sony Pictures Classics - April 30) Writer/Director Nicole Holofcener’s quirky comedy was well received and sparked buzz of an Original Screenplay nomination upon its release last spring. But that seems to have faded. Oscar Chance: It’s still deserving as is Ann Morgan Guilbert’s nifty supporting turn as the tenant who just won’t die. SPC will be asking members to please give the DVD a play.

MOTHER AND CHILD (Sony Pictures Classics - May 7) Rodrigo Garcia’s multi-character drama came and went in theatres, so wisely SPC made sure the screener was the very first one Academy voters got this season. Oscar Chance: On the DVD box, they are suggesting Annette Bening for Best Actress but, great as she is here, there’s no way she gets it for this over the higher profile The Kids Are All Right.

IRON MAN 2 (Paramount - May 7) The first Iron Man in 2008 only landed nominations for Visual Effects and Sound Editing. Oscar Chance: Visual Effects and Sound Editing.

LETTERS TO JULIET (Summit - May 14) This chick flick did pretty well at the box office. Oscar Chance: Vanessa Redgrave was terrific in a supporting role. And, in a 14 month span during which she lost her daughter, sister, and brother, she could use some good news. Long shot.

ROBIN HOOD (Universal - May 14) Ridley Scott’s take on the legendary Robin Hood tale starring Russell Crowe opened Cannes and did better internationally than in the U.S. where it just barely crossed $100 million. Oscar Chance: Even Universal doesn’t think it has one. Maybe a tech category or two.

SOLITARY MAN (Anchor Bay – May 21) Michael Douglas received some of the best reviews of his career in this highly unsympathetic  role. Oscar Chance: There is a lot of good will for the cancer-stricken star. And Anchor Bay is making sure the DVD gets circulated to press who can remind voters of this performance. An indie spirit nomination is a definite possibility.

WINTER’S BONE (Roadside Attractions – June 11) A critical darling and surprise indie hit at $6 million and counting, this could be the sleeper awards success of the season. Oscar Chance: Roadside needs to do everything it can to put it front and center with critics groups who could champion it. Could be forced into the Best Picture race this year a la The Hurt Locker. With some precursor awards, newcomer Jennifer Lawrence could crack the tough Best Actress group.

I AM LOVE (Magnolia Pictures - June 18) A sumptuous showcase for Scottish Oscar winner Tilda Swinton who speaks Italian with a Russian accent and gets to wear great clothes. Oscar Chance: Italy killed the film’s chances for a Best Foreign Language nod by submitting something else. But Magnolia is going to try to put it into other races like Cinematography, Art Direction, Costumes, and Actress where Tilda’s awesome language feat could gain traction with her fellow actors.

TOY STORY 3 (Disney/Pixar - June 18) A worldwide smash and, with 99% positive reviews on Rotten Tomatoes, it's the highest rated movie of the year that isn’t a French documentary about Henri-Georges Clouzot. Oscar Chance: The frontrunner for animated feature and on just about everyone’s list for a Best Picture nomination as well. Is 3 the charm? Neither of the other two Toy Story's were around when the animated category was created. But the first one got a special Oscar for John Lasseter.

DESPICABLE ME (Universal - July 9) Call it the toon that saved Universal this year. It had strong reviews and great box office. Oscar Chance: In a field of five animated nominees, it’s a given. But if there are only three, its chances become one in a minion.

THE KIDS ARE ALL RIGHT (Focus Features – July 9) It's THE focus for Focus this year. They hope to turn this $20 million grossing movie about lesbian parents who encounter the birth father of their kids into that rare comedy that cracks Best Picture. Oscar Chance: Parlaying a Golden Globe Comedy/Musical win into a Best Picture nomination seems doable with screenplay. And acting nominations for Annette Bening and Mark Ruffalo very likely. The deserving Julianne Moore competing with Bening for Best Actress recognition could be a tougher sell in that overcrowded field. Both women are overdue.

INCEPTION (Warner Bros – July 16) Christopher Nolan was snubbed for The Dark Knight so will the Academy make it up to him for this audacious and original fever dream of a movie that has made three-quarters of a billion  at the worldwide boxoffice and inspired love letters from critics? Oscar Chance: How can voters deny this achievement even if they don’t quite get it? Best Picture and loads of tech noms while iffier is the always great Leonardo DiCaprio who has to compete with himself in Shutter Island for a Best Actor nod. Hey, he can dream can’t he?

THE CONCERT (The Weinstein Company – July 30) This French comedy sleeper surprised and delighted members who saw it at the official Academy screening. And they've been talking about it ever since. Oscar Chance: Not eligible for Foreign film, plus it didn’t hang around long and Harvey’s got bigger fish to fry. But it could turn up some place where you least expect it. Golden Globes, for sure.

GET LOW (Sony Pictures Classics - July 30) Nice-sized indie hit for SPC is now going strong in its third month and has special appeal for older voters. Oscar Chance: Robert Duvall is a good bet in the Best Actor race and Sissy Spacek might squeak into Best Supporting Actress.  Original Screenplay is possible together with a long shot shot for Picture if later entries fizzle.

CAIRO TIME (IFC Films - August 6) This quiet adult drama received nice notices for its talented star, Patricia Clarkson, in a romance about an ill-fated brief encounter set in Egypt. Oscar Chance: In a weaker year for actresses, Clarkson could have scored. But the competition is too tough and the film is just too small. Indie Spirits, anyone?

ANIMAL KINGDOM (Sony Pictures Classics - August 13) This tough Australian crime drama joined Mother and Child as the first DVD screener sent to Academy members this season, but its box office has been spotty. Oscar Chance: If those voters pop this thing in their DVD player, they will see a classic supporting actress turn from Jacki Weaver who deserves the recognition. (And the T-shirt SPC sent to bloggers promoting her performance.)

EAT PRAY LOVE (Sony Pictures – August 13) A bestselling book, some decent if not spectacular box office, and a starring role for Julia Roberts on global locations should add up to something worth awards attention, right? Well, she did get a Golden Globe nomination last year for the flop Duplictiy so... Oscar Chance: Pray.

LOVELY, STILL (Monterey Media - September 10) A small little gem of a drama about two old people who find romance near the end of their lives features brilliant performances from Martin Landau and Ellen Burstyn. They both deserve awards recognition even though the movie came and went without a whimper and has little hope of being seen by voters. Oscar Chance: Fortunately  Landau and Burstyn already have one.

THE SOCIAL NETWORK - Ironically, the one movie that perhaps generated the biggest buzz this week wasn’t at any of the Big Three. The Social Network stole the thunder from Toronto by beginning screenings for onliners in New York and Los Angeles before it opens the New York Film Festival on September 24th. Oscar Chance: It instantly became anointed a frontrunner for Best Picture.

THE BLACK SWAN - It took Venice by storm with one of the most enthusiastic opening night ovations in years. But at award time on the Lido it was virtually overlooked (except for a breakthrough honor for Mila Kunis). Top reviews and lots of awards talk followed at Telluride and Toronto, especially for Natalie Portman. Oscar Chance: Very much alive in key races including newfound frontrunner status for Portman in Best Actress. Big question is how will older voters react to film’s kinkier aspects?

SOMEWHERE - Sofia Coppola’s quiet character study won the top prize in Venice despite mixed reviews and some cries that jury president and Coppola intimate Quentin Tarantino played favorites. (Tarantino vehemently dismissed the criticism.) The film sat out Telluride and Toronto by design and will likely be held back from screenings until closer to its late December release. Oscar Chance: Still a bit of a mystery but may be too soft to make a dent. Coppola though is well-liked by her fellow writers and directors and Stephen Dorff is said to be quite good in it.

127 HOURS - Danny Boyle’s first effort since sweeping the Oscars with Slumdog Millionaire two years ago was generally met with favorable reviews and good buzz in Telluride followed by at least one standing ovation in Toronto. Oscar Chance: Strongest bet in Best Actor for James Franco. A longer shot in Best Picture as "Farewell to Arm" scene may be too much for some at the Academy.

CONVICTION - Middling reviews and lack of strong buzz in Toronto make this true story a long shot. Oscar Chance: Hillary Swank has a shot in Best Actress but she’s down the list in an exceptionally tough field. Sam Rockwell has film’s best shot in Supporting Actor. Juliette Lewis is also possible but role may be too small.

THE KING’S SPEECH - Strong outstanding period piece puts Harvey Weinstein back in the Oscar game big-time. Triumphed over all comers in Telluride with subsequent buzz seeing hundreds turned away in Toronto. Great reviews and a real crowd pleaser. Oscar Chance: A slam dunk for major nominations across the board and an instant frontrunner that should play right into Academy’s lap.

MADE IN DAGENHAM - Another British period piece that debuted in Toronto to good results and sweet reviews. Story about a group of female factory workers fighting for equal pay is very accessible entertainment. Oscar Chance: This may be Sony Classics' best shot to get into Best Picture, very Academy friendly film with acting noms possible for star Sally Hawkins and supporters Miranda Richardson and Bob Hoskins.

ANOTHER YEAR - Mike Leigh’s best film since Secrets And Lies didn’t win anything in Cannes in May and seemed to get mixed to excellent reactions in North American premieres in Telluride and Toronto. Those who like it love it. Oscar Chance: Leigh films usually go over well with the Academy but surest thing is the acclaimed performance of Lesley Manville. She should go for supporting where she'd have a better chance than in the overcrowded lead actress category.

THE TOWN - Ben Affleck drew pretty good reviews as an actor and especially director out of Venice and Toronto. Depending on how it does at the box office starting this weekend, it could follow a similar trajectory as its producer Graham King’s Oscar winning The Departed. Or not. Oscar Chance: Pedigree is fine but may be too much in the violent action genre. Strong performances could crack one of the acting categories, with Jeremy Renner the most likely possibility in support.

HEREAFTER - Clint Eastwood ‘s latest got mixed reviews out of Toronto. But Ebert and Corliss dug it and this likely will play better with the older-skewing Academy members who may relate to its themes of afterlife. The 4-time Oscar winner and Acad favorite is now 80 and, even though his most recent two films Gran Torino and Invictus got a grand total of just two noms between them, you can never count Clint out. Oscar Chance: Clint is still a force. May have an ‘afterlife’ following Toronto and upcoming closing night spot at the New York Film Festival.

RABBIT HOLE - Glowing reviews, especially for its three main actors -- Nicole Kidman, Aaron Eckhart and Dianne Wiest. Thursday’s news of Lionsgate’s quick pickup following Monday night’s Toronto World Premiere, and a planned 2010 Oscar campaign, make this biggest award season news to come out of Toronto. Oscar Chance: With a savvy push by Lionsgate and top notch performances and writing, this is suddenly a player in the marquee categories.

BURIED - Ryan Reynolds' tour-de-force turn as a man-trapped-in-a-coffin has been overshadowed by James Franco’s similar guy-trapped-in-a-cave in 127 Hours. But look for Ryan to catch up when this opens next week. Oscar Chance: Funny guy Reynolds going dramatic could be irresistible to his fellow actors if Lionsgate decides to spend some money campaigning for him.

CASINO JACK - Its on-again/off-again release is now on again courtesy of an ATO pickup at Toronto. Two-time winner Kevin Spacey has a new opportunity for top honors playing disgraced lobbyist Jack Abramoff with flair and humor. Oscar Chance: Indie film needs to grab attention against higher profile competition in December if Spacey is to squeeze into the race.

LET ME IN - Superb gloriously reviewed American remake of Sweden’s 2008 cult vampire coming-of-age flick Let The Right One In, this is actually better than the original. Oscar Chance: Reviews could help. But good as it is, this type of movie is not really Oscar fodder and Relativity probably knows that.

MIRAL - In its Venice and Toronto screenings, Julian Schnabel’s first film since his award magnet, The Diving Bell And The Butterfly, failed to excite. Oscar Chance: Dimming since Venice.

STONE - Entertaining but odd mix of styles make this movie difficult to peg. But the actors are enormously watchable. Oscar Chance: Long shot even though Milla Jovovich is seductively appealing. Robert DeNiro turns in his best work in a while but probably has as much chance of a Best Actor nod for this as he does for Machete and Little Fockers.

NEVER LET ME GO - Audiences in Telluride and Toronto liked this one better the more they thought about it. So all that lingering in the mind could improve it awards prospects. Oscar Chance: If it were a weaker year for actresses, Carey Mulligan would be way up there again. Andrew Garfield will likely be recognized for The Social Network instead of his equally fine work here. Rachel Portman’s haunting score should be a shoo-in nominee though.

BARNEY’S VERSION - Sony Pictures Classics' Toronto pickup of this Venice hit is a smart move and could result in some nominations. Oscar Chance: With a decent campaign, Paul Giamatti can make a Best Actor play and Dustin Hoffman is possible in support.

BIUTIFUL - Javier Bardem’s Cannes Festival-winning performance lost none of its power in Telluride or Toronto where the American reviews improved from their mixed bag status on the Riviera. Oscar Chance: Bardem for sure. Foreign film if Mexico submits it. Dark horse in Best Picture if voters don’t turn it off because its “too depressing”.

JACK GOES BOATING - Philip Seymour Hoffman makes his directorial debut and stars as a plain lonely guy who hooks up with a plain lonely girl in this quirkly comedy/drama reminiscent of 1955’s Best Picture and Actor winner, Marty. Oscar Chance: This isn’t 1955 and sorry Jack, but you’re no Marty. Strictly indie (as in Spirit Awards).

BLUE VALENTINE - Continuing its marathon festival journey from Sundance to Cannes (where it was 7 minutes shorter) to Toronto, Blue Valentine and its lead actors are still generating plenty of awards heat. Oscar Chance: Ryan Gosling and Michelle Williams are definite contenders.

TAMARA DREWE - Sony Classics would love this in-house production to get some traction. But no matter how you slice it, it’s pure comedy and that usually has its best shot at the limelight at the Globes. Oscar Chance: Writers like to laugh, so maybe screenplay.

THE WAY BACK - Newmarket picked up this classically made Peter Weir adventure just as it hit its one and only festival, Telluride. They still haven’t announced an Oscar qualifying run for December. But it would seem a no-brainer for this January 21st pretty wide release. Oscar Chance: Fellow directors could go for overdue 4-time nominee Weir. And the cinematography is right up there with anything released this year.

Simply put, Inception is a brilliant mind-fuck. A clusterfuck of genius, if you will. A fucking great movie.

At its heart, the film is about Dom Cobb, a man who is a "dream thief." His character completes extractions in which he and his team steal valuable secrets from deep within the subconscious of his marks during the dream state. The key here is that the dream may not be that of the mark, but instead may be the dream of a member of his team (where they have more control) making the mark more vulnerable. Cobb’s talent has made him and his team the best in the world of corporate espionage. It has also, we learn, made him a fugitive, keeping Cobb from his children.

After failing an initial extraction of intel from the mind of the opening mark, Saito, Cobb is offered a chance at redemption by Saito himself. He wants Cobb to perform inception --- the action of placing an idea in the mind of a target rather than stealing an idea. Saito promises that this job could give Cobb his life back but only if he can accomplish the task.

Cobb and his team retreat to Paris where a new architect is found. The architect literally creates the dreams. Meanwhile, Cobb exits to Africa to search for Eames, the forger. The forger is the person who can emulate any subconscious projection, basically becoming someone the mark trusts.

During preparation, we learn that Cobb has a deep, dark secret. Literally. Team members discover Mal, Cobb's dead wife, lurking in the dream world and causing chaos at every turn.  We eventually discover that the dream world of Cobb's is actually a set of memories, something Cobb urges the others to avoid.

Eventually, the team hits the mark and begins to go through multiple levels of the dream world, building up to a crescendo of brain-pounding scenes --- anti-gravity fights, "kicks," armed members of the subconscious, explosions, shoot-outs, you name it. We also learn Cobb's true secret about his wife and her death.

In the end we are left with a big question, though, as to the reality of the final scene. After two and a half hours of pulse-pounding action and riveting discoveries, the blank canvas we see just before the credits is brilliant. Audience, interpret!

So, what was the best thing about the film? The acting. DiCaprio and Gordon-Levitt hit it out of the park. Ellen Page is also very noteworthy. This movie is deep so we are introduced to these completely foreign concepts via her character. As things are explained to her, they are explained to us. Perhaps my favorite actor was Tom Hardy, playing Eames, the forger.  He is the comic-relief, so to say. But it's his scenes where he and Joseph Gordon-Levitt riff off one another that capture a fun, adventurous spirit.

Another amazing aspect of this film are the effects. The trailer let us see a lot of amazing sprinkles of CGI goodness, but it was just the beginning. The city folding in on itself was inspired. But it was the zero-gravity hotel fight that will live on for most viewers.

The screenplay is also top-notch. It wasn't just a color-by-numbers plot.  Inception was a carefully crafted masterpiece of time-honored thematic elements woven together to make a complete story. Every character has a purpose. Every shot has a rhyme. Every cut has a reason.After some reflection, it is clear to me that Inception is a masterpiece of storytelling.

Overall, this is a top-notch, high-caliber film. In fact, I dare say Inception is the best film I have seen since There Will Be Blood, more than two years ago.

I give Inception an A. Fucking A! (10/10)

Best motion picture of the year

Will Win: The Hurt Locker
Should Win: Precious
 

Performance by an actor in a leading role

Performance by an actor in a supporting role

Performance by an actress in a leading role

Performance by an actress in a supporting role

Achievement in directing

Best animated feature film of the year

Achievement in art direction

Achievement in cinematography

Achievement in costume design

Best documentary feature

Best documentary short subject

Achievement in film editing

Best foreign language film of the year

Achievement in makeup

Achievement in music written for motion pictures (Original score)

Achievement in music written for motion pictures (Original song)

Best animated short film

Best live action short film

Achievement in sound editing

Achievement in sound mixing

Achievement in visual effects

Adapted screenplay

Original screenplay

How do I even begin?

I finally caught a screening of Sherlock Homes the other day. I had been eagerly awaiting this since I learned that director Guy Ritchie (of Snatch and Lock, Stock, and Two Smoking Barrels fame) was attached to the project. Add Robert Downey Jr. and Jude Law to this mix and, well, how could it be a miss?

But it was more than a miss. It was a mess.

The film was downright boring. I nearly dozed off more than once.

The story fell flat. The mystery was bland at best.

I give kudos to the actors. They did an amazing job with such a lackluster source material. But color me unimpressed with everything else.

The worst part had to be the set-up for the inevitable sequel. When the set-up for the next film in the series is more interesting than the film you just saw, that is a red flag. And Sherlock Holmes had plenty of those.

I give it a 4 out of 10. And I am being nice.

Here's to hoping the boredom is erased and the mess is fixed for Sherlock Homes 2: Moriarty.