Recent Release Short Takes

Amelia: A beautiful looking film, featuring amazing production design adn cinematography, yet featuring a flat unoriginal story and barely passable performances for Ewan MacGregor, Richard Gere and especially Hillary Swank. While it could still find itself in the hunt for technical nominations, anything else is a longshot, including a Best Actress nod for Swank. Just a boring film.

The Last Station: A period biopic drama like Amelia, yet completely engaging and interesting throughout, thanks mostly to the quadratic formula of performances for Helen Mirren (absolutely wonderful) James McAvoy (ditto) Paul Giamatti (Very good, reminding me slightly of his performance in The Illusionist) and Christopher Plummer (A career nod, shall he seek?). Like Amelia the film has great production values all around and could be a hit Oscar wise in the tech categories. However, I feel it's best chances lie on the performances of Helen Mirren, who just won a Best Actress prize in Rome for her lively work, Christopher Plummer, who will most likely get a career best supporting actor nod in this, and possibly James McAvoy, who continues to consantly impress and could be a darkhorse contender for Best Actor. The one problem I forsee for the film campaign wise is that Giamatti, McAvoy, Mirren and Plummer are all basically leads, and the decision over where to campaign may cause confusion and by result snubs.

A Serious Man: I saw the Coen's latest in Toronto and loved it then. Seeing it for the second time last night, I remain convinced that the film is their most brilliant work yet, featuring an amazing screenplay, great direction, editing, cinematography, costume design, ect., ect. The acting is top notch for stage vet Michael Stuhlbarg whose character Larry is run through the gamut, as well as supporting players Richard Kind, Fred Melamud, Aaron Wolff and the rest of the cast. The film's ending is one of the best I've seen all year, and I firmly believe that it will play great among Academy members despite being a very philosophical work with a great deal of Jewish themes. I loved it.

Where The Wild Things Are: A suprisingly poignant effort from Spike Jonze, Wild Things is one of the better films to be released this year. It treats it's audience with respect, giving us a mature, emotionally honest adaptation of a beloved childrens story. The cinematography and score are it's best attributes, but the performances from Max records, James Gandolfini and Catherine Keener are also fantastic. I feel it will probably make it into the Best Picture category as well as a few of the tech awards. Just a top notch film despite pacing issues at certain points.

State of The Race vol. 2 2009-2010: October - Best Supporting Actor

With fall ariving and the Oscar season "officially" beginning with the releases of films such as Bright Star, An Education and Where The Wild Things Are, its time once again to take a look at the current prospective nominees, this time in the categoryof Supporting Actor, at the start of fall. Here are the top ten contenders for each category thus far. (In a countdown from the least likely of the top contenders to the most likely)

BEST SUPPORTING ACTOR (TOP 10)

10. Peter Sarsgaard for An Education - The only reason Sarsgaard rests at the number ten spot is due to technicality alone. It is currently unknown whether or not he will push for the Supporting actor nod or a Leading actor nod. My gut tells me that the films producers will want to bolster his chances and campaign him alongside Molina. Either way he is great in the film and getting a nod shouldnt prove to be too difficult for Pete, though people have been saying that every year since the Shattered Glass snub.

9. Tobey Maguire for Brothers - Playing a great role in proven source material, Maguire seems to be intent on stretching his range as an actor. He looks great in the trailer but there has been little to no word on the film's quality itself, and at this stage in the game if his film doesnt recieve wide praise, no matter how acclaimed his performance may be, Maguire looks to miss the Oscar boat once again. That said his nomination rests on Brothers critical and box office performance.
8. Anthony Mackie for The Hurt Locker - Phenominal in one of the year's best films, Mackie's chances at a nod depends really on only two things. One, the film has been able to sustain its buzz so far but it may have a tough couple of months ahead of it. If the film can survive the glut of fall/winter prestige films and remain a viable contender, Mackie may be safe. However if Locker's star Jeremy Renner fails to make the cut, it seems doubtful that the Academy would still bring him in to the players field.

7. Alec Baldwin for It's Complicated - Given his status as a beloved figure of the television entertainment community as well as being a past nominee, one would assume he would contend for an Oscar this year for his turn opposite Meryl Streep in Nancy Meyer's It's Complicated. Meyers having already nabbed Diane Keaton a nod a few years ago, seems to make films that are enjoyed by the AMPAS if not always honored, and Baldwin could ride that into a nod. However the film is a comedy, and the C-word can be an offense punishable by snubbing in the Academy.

6. James McAvoy for The Last Station - Having come so close to a nod in both 2006 and 2007 for his turns in the Last King of Scottland and Atonement respectively, it is probable that the Oscars are itching to give him that first nod and welcome him into the club. He is also appearing in a prestige biopic, a huge plus, and playing a major role in a period piece can lead to a fast track nomination. While it may seem perfect circumstances to gain McAvoy a nomination, the AMAPAS may only wish to honor Christopher Plummer with a career nod and/or Helen Mirren who is beloved more within that community than McAvoy is presently.

5. Christian McKay for Me and Orson Welles -Recieving raves for his performance as Orson Welles in Richard Linklater's recently picked up indie, Christian McKay seems to be in prime condition to recieve that Supporting actor newbie nod. He's palying a film icon, in a period film, that happens to be a serio-comedy, and has already recieved best in show notices from critics. The only con to his chances is the fact that the film is a small and may not recieve the release necissary to place him in Oscar contention.

4. Matt Damon for Invictus - Matt Damon is another actor like Alec Baldwin and Geroge Clooney who seems to be very well liked within the industry. Afterhitting it out of the ballpark with The Informant! Damon seems to be a likely double nominee this year. He is another actor playing a real life figure, opposite Morgan Freeman as Nelson Mandella in a biopic directed by perhaps the most beloved actor/director if the Oscars in the past decade, Clint Eastwood. Due to the lack of early word or buzz on the film, Damon and Invictus are stuck in the too good to be true category for now, lets wait and see on this one, there isnt even a trailer yet.

3. Stanley Tucci for The Lovely Bones - A well liked and respected character actor, Stanley Tucci has seemed to be on the cusp of a nod forever, always delivering the goods without ever being rewarded for doing such. However, this year could finally change all that. With the goodwill leftover from his fantastic performance in Julie and Julia, his role as a killer in Peter Jackson's The Lovely Bones could be a homerun for an oscar nomination. The film has the pedigree to go all the way, and in the trailer he looked downright creepy, so lets hope he delivers the goods once again this December.

2. Alfred Molina for An Education -You can basically copy the first two sentences of my Stanley Tucci thoughts and apply them to Alfred Molina, a nomination-less veteran who is absolutely fantastic in An Education, one of this year's best films. He plays a loving but worried father which is always a plus within the ampas, and that afformentioned veteran status will play big time into his chances which at the moment are considerable. He's got the reviews so far, and all he really needs now is for the film to just do well going into the precursors, and if that happens, he is a lock for his first nomination.

1. Christoph Waltz for Inglourious Basterds - Hands down the best Supporting Performance of the year, and point blank a lock for the win right now. He's already won in Cannes and looks to be this year's Javier Bardem as far as the precursors go. Along with that, Inglourious Basterds is a bonfied box office smash and a darkhorse contender for many Oscar categories this year including Best Picture. I would be shocked if he isn't nominated, and very suprised if he fails to win the Oscar this year.

The Oscar Hut is on Temporary Hiatus...

...due to a sudden illness, ive been out with pnemonia for the last week and have been trying my best to get on the pc and pound out some stuff, unfortunately this is alot easier said than done, luckily this sick time has afforded me to see a few screeners ive recieved in the past few weeks, so when I finally am up and running I should have a review of The Invention of Lying, Zombieland, Antichrst, The Brothers Bloom (I know, but I just finally got around to seeing it), Paranormal Activity and a few other gems. I also have the State of the Race collumns on hold and will be revising them until I can put my full attention back on the site. In the meantime, Aaron Morales, a good friend of mine should be contributing a Golden Globes predictions article in the coming days.
Thanks for everything readers! Sorry for the inconvienience!

Tyler Pratt, The Oscar Hut

State of The Race...Returns tomorrow!

It's been a month or two since i last wrote a state of the race update, so tomorrow comes a mega State of the Race article starting with the Acting races, part two will detail the screenplay and part 3 Best Picture and Director!

Up in The Air, in Review

A smart and profound romantic dramedy, Up in the Air is the rare mainstream film that successfully balances comedy with poignancy, and in a way that beautifully incorporates important issues faced by today's America. Adapted for the screen and directed with maturity by Jason Reitman, Up in the Air is the kind of movie all others should strive to emulate, and on top of that it's one of the best films of the year.

Ryan Bingham is a professional down sizer, constantly flying across the United States, working for companies to fire their employees. A self professed loner uninterested in settling down, Ryan loves the wayfaring disposition of his work. However soon bedlam threatens his lifestyle when he falls for Alex, a beautiful fellow frequent-flyer & basically a female counterpart of himself. At the same time, Natalie, a young dynamo at his company, convinces the management that jobs like Ryan’s could be much more cost-effective if done via teleconferencing, as in i-chat, rather than doing it in person. The gathering storm of these events leads Ryan to begin questioning whats important in his life, and subsequently boards him on the flight to what could very well be his final destination.

With a wonderful screenplay adapted by Jason Reitman that deftly balances the film's humor with touching resonance, Up in the Air is anchored by a trio of fantastic performances by George Clooney, Vera Farmiga and Anna Kendrick.

Giving a phenomenal performance in perhaps what is the role of his lifetime, George Clooney is perfect as Ryan Bingham, a man uninterested in the banality of settling down and having a family. Clooney's performance is extremely subtle and layered, yet plays off his costars with great chemistry and a smart handling of the film's lighter moments, an Oscar nomination seems assured. The perfect counterpart to Clooney's Bingham, Vera Farmiga is wonderful as the wry Alex, portraying her as a woman who is deeper than she appears at first. Her performance is the most touching of the supporting cast, and along with Clooney sees herself planted firmly in the awards race. Rounding out this trio is Anna Kendrick, who does great comedic work as the insecure upstart of a foil to Clooney brings the film some of it's better moment.

Although there might be a misstep or two in the film, Jason Reitman's Up in the Air is a clearly personal film with a lot to say about the culture of alienation and technology Americans face today, as well as the worth of a life unshared with others. The film is brilliant in its handling of comedy and drama in their different variations, thanks mostly to Reitman's direction and fantastic adaptation, by Sheldon Turner and himself. The acting featured in the film is excellent all around, from Clooney, Farmiga and Kendrick to the smaller turns from Jason Bateman and Danny McBride. The film is no doubt a top contender for many of this year's Academy Awards, and possibly the odds on favorite in the Best Picture, Actor and Adapted screenplay categories.

Ultimately, Up in the Air is a character study at heart, and a fantastic one at that. I strongly suggest that each and every person who reads this, find their way to a theatre come November, simply because this film is a masterpiece, and as such demands to be seen.

"Precious" In Review

Undoubtedly the two best films at TIFF, and the most buzzed about Oscar wise , Precious and Up in The Air are probably bound to become major Oscar players simply for the fact that no better American films have been released this year...so far.

First up is Precious, which today became the first film to ever win both The Sundance Grand Jury Prize and the TIFF's People's Choice Award. A beautifully crafted, wonderfully acted, affecting piece of work, Precious is for lack of a better term the most "real" film I've seen in quite a while. I left the screening knowing I had seen a masterpiece, a film that looked, sounded and felt so raw and realistic that there was times during the showing that I felt physically uncomfortable at what was happening on screen. Precious is a brutal theatre going experience, it is a movie filled to the brim with hate yet in the ends leaves you filled with a shred of hope.

Telling the story of Precious Jones, Precious bears to the screen some of the most vile things I have ever seen in a movie. Precious, a 16 year old mother of two, the result of being raped by her father, lives her life in Harlem, a harsh reality compared to the fantasy life she escapes to, which improbably saves her from the hellish existence she suffers through.

As if bearing two children from her own father isn't bad enough, her mother is possibly the worst to ever be conceived on the silver screen, if not of all of forms of fiction. Her mother constantly abuses her physically, as well as mentally, never sparing her from her anger and making her life miserable in general. Making matters even worse, Precious is expelled from school and is forced to enroll in alternative classing, an event that changes her horrific existence for the better. Cared for by her loving teacher Precious begins on a journey that leads to the birth of another child and another potentially devastating incident in the form of the HIV virus.

While a definitely uncomfortable viewing experience, the movie soars, an shining example of the power of cinema when placed in the hands of a wonderful film making collaboration. The acting is simply awe inspiring. Gabourey Sidibe is a revelation, bringing joy, sorrow and pain to screen in a showcase of raw acting talent, a performance as fine as I've ever seen from an actress. If Sidibe is snubbed for an Oscar this year, it will be a travesty and a major letdown on the Academy's part. She gives the best lead female performance of the year, and speaking of which, her costar Mo'nique gives the best supporting female performance of the year if not the last 5. Bringing a shocking lack of vanity in any form to the role, Mo'nique gives herself completely to the film shedding any sense of her own personality in favor of becoming the character so completely. She brings a terrifying presence to the screen filled with hate, and i downright disgusting and horrific as a woman who lost any parental affection over the years spent married to her monster of a husband, taking out her frustration on Precious an easy target for herself. Mo'nique, just like Sidibe is as of now the undisputed front runner for Best Supporting Actress of the year. Rounding out the impressive ensemble is Mariah Carey, Lenny Kravitz, Paula Patton and Sherri Shephard all of whom are great in their respective roles, Carey in particular surprised me, though I have yet to decide whether or not this was due to her deglamming role or her actual talent.

Precious is a raw, affecting and daring masterpiece, directed wonderfully by Lee Daniels and beautifully translated to the screen. The editing is fantastic, I enjoyed the photography and the rest of it's technicals are great as well. This is a film that is tough to get through, yet ultimately is a winning experience and a testament to the power of cinema. It is one of the best film's of the year, and as such a expect it to play heavily in this year's Oscar race, assuming the Academy has the cajones to honor such a brutally realistic film. See it the second it comes out in theatres.

Up next(no pun intended) in Part 2 of this article is Up in The Air, the thrid film from Jason Reitman, the Oscar nominated director of Thank You For Smoking and Juno.

Contender Tracker Shakedown

I've been thinking since I got home that the contender tracker feature here on the site has grown a bit too large, and I have decided that its time to eliminate some names from the list, which is why I am asking readers to comment on this post who they think should be removed, with the names recieving the most votes being taken off the tracker so please comment.
- Aaron Morales & Tyler j. Pratt
"The Oscar Hut"

"The Men Who Stare At Goats", "The Road" and "A Serious Man" Short Takes

Since they're first big paring back in 2005 with the Academy Award nominated Good night, and Good luck, Grant Heslov and George Clooney have made an excellent pair. Though many did not, I thoroughly enjoyed they're last film Leatherheads and had been eagerly anticipating The Men Who Stare at Goats since I first caught wind of it last year. Today, I am pleased to say that once again the two failed to disappoint.

The Men who Stare at Goats is humorous, well acted by everyone involved, and just flat out fun to watch. The story is interesting and almost believable, and the characters all feel fully fleshed out by the cast who just seem to be having a good time. Ewan Mac Gregor hasn't been this fun in years, same goes for Kevin Spacey, as per usual I loved Jeff Bridges' role, and George Clooney continues effortlessly to seem like the most likable guy in the industry. The movie is not perfect, but it is well written, acted and directed, so even though it may not receive any Oscar nods, it is still a great watch, and one that I recommend highly.

It seems so long ago that The Road was once considered a future Oscar front runner, a film of importance, and that it potentially could be one of the best screen adaptations of all time. Unfortunately, the film failed to live up to any of these expectations. While The Road is no doubt a beautifully designed and photographed & also featuring two great performances from Viggo Mortensen and Robert Duvall , it just fell short for me in the end. The filmmakers seemed almost too concerned with the visual feel, it's amazing but I feel that Hillcoat gave up on the the story in favor of aesthetic and it definitely shows.

The performances are, for the most part, very good, the weak links being Kodi Smit-McPhee as the boy who I feel ruined the picture with his characterization, and Charlize Theron who could have been better despite a weakly written role. However, Robert Duvall and Viggo Mortensen are fantastic, providing wonderfully moving work in the film and are indeed its saving graces.

While Duvall, Mortensen and the look of the film are worth seeing, there is not much I else that I would pay to see again. The film adaptation will always be an incomplete one, and I am saddened that such a masterpiece in book form could not be translated as well to the silver screen.

The Coen brothers are geniuses. I have never been disappointed by any single film of theirs, all of which have inspired and fed my love for the art of film. After their bleak, Oscar winning success with No Country for Old Men and last year's fun, dark comedy Burn After Reading, the duo had left me wondering what they would do next, and with A Serious Man, The Coens have once again captured my fancy with their most thought provoking and personal film since Barton Fink.

Telling a tale of the moral trials beset upon Larry Gropnik, a mathmatics professor in the Minnesota of the 1960's, A Serious Man is about as good as it gets. Larry suffers relentlessly throughout the film; dealing with a divorce, an overneedy brother, and threats of law suits and losing his job, Larry begins to question the meaning of life, except his questions are presented in a flippant light hearted manner compared to the woeful issues beset on Barton Fink.

The film is smartly written ,as if it were directly ripped from the pages of the Coen's own upbringing, and superbly directed and acted, great performances coming from Michael Stuhlbarg who is deserving of awards attention for his brilliantly observed leading role, Fred Melamed as Larry's widdowed rival who steals his wife's affection, and Richard Kind who does the most he can with a role that was smaller than I had expected.
While it is unlikely the film will score in the acting and tech categories at this year's Oscars, it's brilliant screenplay is a shoo in, and the film could even find itself in the Best Picture race depending on how hard it is pushed.

Joel & Ethan Coen's A Serious Man, is a film that deserves to be seen by a wide audience. It is the kind of smart, thoughtful and mordant comedy that sinks in the more you think about it, and I feel that I may still be pondering the meaning of life, weeks from now. Pun aside, A Serious Man is one seriously good film.

"The Informant!" In Review

For the past 20 years, Steven Soderbergh has proven himself to be a filmaking chameleon, rarely repeating himself with the exception of the Ocean films. After his two part Che Guevara biopic last year, and his indie curiosity The Girlfriend Experience earlier this year, Soderbergh is back, and once again teaming with longtime collaborator Matt Damon in the Scott Z. Burns penned adaptation of The Informant!

Adapted from Kurt Eichenwald's book of the same name(minus the exclamation), The Informant! tells the story of Mark Whitacre, effortlessly played by Matt Damon, a rising star at ADM, a corporation based out of Illinois, who turns informant for the FBI in regards to the companies' price-fixing activities. The movie deals with Whitacre's ordeal as he struggles with bi-polar disorder, his own misdeeds, and the stress caused by three years of wearing a wire.

While the film is not what I would call a lough out loud comedy, it is smartly written and quietly hilarious throughout, allowing for the comedy to come from the character's actions and reactions to the events that unfold. Soderbergh's direction serves the film well enough, and I have to agree with Variety's review which called the film "Soderbergh's Richard Lester" movie. Damon is wonderful as the increasingly out of it Whitacre, playing him confidently and sharply, never making light of Whitacre's convictions and belief that he is doing the right thing, even when he isn't. The rest of the cast does well enough, Melanie Lynskey does her best with her role as Whitacre's devoted wife Ginger, even though there relationship and her character is weak and underwritten.

In the end, The Informant! is just about as good as one would expect from Damon/Soderbergh corporate dark comedy. Its funny without being flash, smart without placing attention on it, with good direction, a great adaptation by Scott Z. Burns, and a fantastic star lead from Matt Damon in his best role since The Talented Mr. Ripley more than a decade ago. While the film may not set the box office afire, I feel assured that Matt Damon will certainly find himself in awards contention, along with Burn's for adapted screenplay and it's great score which feels like a character unto itself at time. I would definitely suggest seeing this film in theatres.

Post-Venice/ Telluride/ Toronto Articles, Reviews and Updates coming Friday

Im sorry about the two week hiatus, things have been hectic with school and I am currently in Toronto attending the film festval, so i hopefully will soon be able to write about The Informant!, Men Who Stare At Goats, Up in the Air, Precious, The Road, A Serious Man and many of the other films I have seen so far at the festival. Regrettably this will not include Antichrist, Broken Embraces or Get Low all of which i missed.
Just to hold you guys over until friday here are 5 thoughts on how Toronto has affected the Oscar race so far..

1. Up in The Air is hands down the best film I've seen this year so far, and I feel confident in predicting it as the front runner for Best Picture, Director, Screenplay, Best Actor and possibly 2 supporting actress nods. Just a beautiful effort from Jason Reitman, and suffice to say, my reaction was somewhat akin to Drew McWeeny's: utter disbelief.
2. A Serious Man is better than No Country for Old Men, and is possibly not only the Coen Brothers most personal work to date, but there best since Fargo. Stuhlbarg is excellent, possible a darkhorse best actor contender, Richard Kind however will not recieve a nod, his part is a bit too small.
3. Precious is a work of art. Mo'nique might as well have her speech written as well, and Gabourey Sidibe will get nominated for Best Actress. The direction is very good, the editing is great, Precious is just an all around fantastic movie.
4. The Road was a misfire. Viggo could still get into the best actor race, but it will be tight. Kodi Smit-McPhee was shrill and in my opinion miscast as the son. Robert Duvall's cameo was handsdown the best part of the film, he had me in tears, and from the buzz ive been hearing, he might have a best actor shot with Get Low which I missed.
5. Matt Damon lives up to the hype in The Informant! He is just wonderfully funny, and the movie itself is a great effort from Soderbergh who created a film that was funny without being laugh out loud, smart without being to obvious about it, and the best adaptation I've seen in a while. Scott Z. Burns could see an adapted screenplay nod for his work.

So..till Friday, have a great week!