"War is a Drug" The Hurt Locker, In Review

"War is a Drug", at least according to the main character Staff Sergeant James, played by Jeremy Renner in Kathryn Bigelow's Iraq war set character study, The Hurt Locker, also starring Anthony Mackie, Brian Geraghty and Christian Camargo along with cameos from Guy Pierce, David Morse and Ralph Feinnes.

Told as an exquisite representation of the Soldier's experience, rather than political drama or morality tale, The Hurt Locker succeeds where most Iraq war themed films don't. Showing for the first time, the point of view of the soldiers rather than trying to make some grandiose statement about how politics have influenced every facet of the war, and certainly without manipulating the audience.

Set in Iraq in 2004, Locker takes an intense, edge of your seat look at soldiers who may just have the toughest job in Iraq: Disarming bombs and explosives in a land forever in combat. When their first squad leader is killed on the job, Bravo company's bomb squad is taken over Sargent James, a potentially crazy rogue soldier who shocks his team with his brazen disregard for his own safety and their own. As the disposal unit desperately trys to control their new team leader while disarming bombs, the city explodes with combat leading the three men on a journey that will ultimately change them forever, or will it?

Perhaps most shocking about The Hurt Locker is it's helmer, veteran director Kathryn Bigelow who was last seen a few years ago with the release of the horrendous K19: The Widow Maker. Exploding back on to the film scene like one of the bombs her characters deal with on a daily basis, Bigelow has crafted perhaps the best film set within the current Iraq War filling the screen with breathtaking images along with white knuckled tension, making for a future classic.
The direction is sublime, as is the cinematography, editing and sound design, all of which were top notch efforts.

However, the film best succeeds with it's performances, uniformly great with two standout actors who may be looking at Awards contention come next February. In his first "big" leading man role, Jeremy Renner dominates the screen giving one of the year's best male performances. Radiating attitude, confidence and danger, Renner captivates the audience creating in Sargent James a character who is at one instance a wild danger, death and war junkie, the next a relatable human being that you can sympathize with though it can be a bit of a stretch.

Also shining, in a supporting role, is Anthony Mackie as Sanborn an war weary cautious, by the book soldier who is forced to trust his team leader, even if his renegade ways do not mesh with his style. Mackie devastates in a role that in the wrong hands couldn't have been more annoying, giving Sanborn a tragic arc that was extremely well handled. Other good performances came from Brian Gerghty, an increasingly talented character actor, as Eldridge, Christian Camargo as Eldridge's sort of counselor, and Ralph Feinnes as a terrorist hunter in the film's best cameo.

The Hurt Locker is definitely a film to see, and I personally cannot wait to see what Ms. Bigelow brings us next.

Grade: B+

Oscar Potential: Pic., Dir., Actor, Sup. Actor, Screenplay, Cinematography, Editing, Sound

On the cold stone scale: Gotta have it

Sorry for the Inactivity...

but i have not seen any new films since Half Blood Prince and with Funny People, (500) Days of Summer, The Hurt Locker and much more coming soon, things will be heating up in the coming weeks. Also, check out the polls and vote on the Oscar Hut's First Half of the Year Awards, then on August 3rd I will present the reader and editor's choice for the awards, so enjoy

How Harry Potter and the Half Blood Prince Reinvigorated my love for the series and fantasy cinema

Like many others of my generation who were around and able to read the Harry Potter books from whence they were first released, J.K. Rowling's series played a large role in my childhood maturation. In short, I loved the books having read each one, besides the 7t, at least 3 or 4 times. However, unfortunately as time wore on and I grew older, with each new release I became more and more disenchanted with the series both in book and film form. And with the release of films 4 and 5 I had officially fell out of love with the series.
All of this changed last night at a 9:10 showing of Harry Potter and the Half Blood Prince.
I cannot recall ever enjoying a Harry Potter film this much, including The Prisoner of Azkaban. I just cannot explain the emotions that ran through me as I watched the movie. Despite possibly tampering with the first viewing experience by going with 6 Friends and my girlfriend, not the best way to see a film if you hate being distracted, I was instantly transported away back to Hogwarts and I was in bliss every moment.
First of all coming off a stylistically great, story lacking Order of the Phoenix two years ago, I was not expecting this movie to be as Good as it was. The cinematography by Bruce Delbono was excellent, using the same washed out color palettes of the last film to even better effect, and instantly had me connected to the aura of the screen if you will. The score was a fabulous depart from the familiar John Williams theme, and the Production/Costume design was the best of the series so far. I could also throw in David Yates excellent sophomore effort to boot, here's hoping he's back for the next two.
One must also mention how amazing the special f/x were, especially during the Quidditch matches.
Techs aside, I also feel like this latest installment featured some of the series's best acting so far, with nearly everybody but Daniel Radcliffe on their A game. Despite, what I felt was a lack of performance from Radcliffe, almost every single cast member impressed me with how amazing they were.
Helena Bonham Carter, despite a smaller role, mesmerized in every scene she was present. Capturing an ominously crazed persona that served the film's darker tone quite well. Alan Rickman and Michael Gambon were as good as they have ever been, and the casting of Jim Broadbent was top notch, in a weaker year he would be a shoo in for a Supporting Actor nomination and who knows, he might just get one. Rupert Grint and Emma Watson's talents have grown considerably with their age, as has, most surprisingly for me, Tom Felton's who was marvelous as Draco Malfoy almost out of nowhere, having merely been an annoying presence in the past.
What it comes down to is this: Harry Potter and the half Blood Prince is the best film of the Potter series so far, combining style and substance for sublime results and it will be a surefire Oscar contender that could even break into the Best Picture category now that it has been expanded.

Short Takes on Public Enemies, Whatever Works, Bruno and An Education

Public Enemies is a troubling film for me, the cinematography, editing, production design and sound were phenominally well done, the acting from Depp is calculated and cold, you can see the gears working in his eyes yet he remained restrained which I quite liked. Bale was serviceable, much better than his work in Terminator Salvation, and Marion Cottilard was phenominal, perfectly capturing Billie's nerves of steel and unrequited love for Dillinger. Mann is back, and I think that his next movie will send him over the top. I expect a few Oscar nods from this film that I wished was great, yet can only call it good.

While Whatever Works may only feel the need to be another Woody Allen comedy, I greatly enjoyed the wit and banter of the script and acting, which would have felt right at home had Allen made this in 1979 starring himself and Mariel Hemingway. Larry David is definitely good, giving a promising performance that could, if he so chooses, lead to an acting career of Alan Arkin, Alan Alda type roles. Evan Rachel Wood is charming enough, but it's Patricia Clarkson who steals the show giving perhaps the funnest ( I know it's not a word) performance I've ever seen her in, and if this year turns out weak for supporting actresses, she could reap an Oscar nomination.

Bruno, was hands down one of the funniest movies I have seen this year. There were no boring patches of nothing going on and the laughter of the audience drowned out many potential jokes.
Despite the low ratings it has recieved compared to Borat, Bruno features an excellent turn from Sacha Baron Coen who is just fucking hilarious to the point of no return. I give him props for having the cajones to go to the middle east and not only acting flamboyantly gay, but insulting a known terrorist in his own home. If anything, you'd be hard pressed to find a movie like it this year.

And finally, An Education. Having just seen it last night, I can't say I'm fully prepared to speak on it, I promise that in the coming weeks a full review will follow, but I can say that it is hands down the best movie I have seen so far this year. The directing is great, the tech aspects sublime and boasts a fantastic adapted screenplay. But nothing had me revelling more than the revelation that is Carey Mulligans performance. She captivates the screen, giving a heartfelt, awkward, funny and emotional performance that stands head and shoulders above any other actress this year. To say that she will get an Oscar nod is not saying enough. I am saying right here and now that Carey Mulligan will be this year's Best Actress winner, she is that great. Other wonderful performances come from Alfred Molina as her worried father, Rosamund Pike as a trophy girlfriend, and Peter Sarsgaard as the older man that seduces Mulligan. Other great turns come from Dominic Cooper and Emma Thompson in a smaller role.
Best movie ive seen of the year, and on a list of ten, a surefire Best Picture nominee.

One a Week: The Puffy Chair

An earlier product of the mumblecore movement, The Duplass Brother's The Puffy Chair is a refreshing, original take on the indie road trip movie genre, succeeding at being both a romantic comedy and a buddy movie as well as a dramady all at once.

Released in 2006, The Puffy Chair tells the story of a young couple played by writer Mark Duplass and Kathryn Aselton whose romance

isn't always a garden of roses. Constantly transitioning from lovely moments of bliss to annoyance with each other to huge arguments, the film at once sets up an ominous cloud that covers the story leaving the viewer to speculate their future. As the couple sets off on a road trip to pick up a present for Mark's father's birthday, the eponymous Puffy Chair, they encounter Mark's brother Rhett, who invites himself along for the ride, and a series of humorous events that pay off amazingly well due to the film's realistic approach.

If anything, The Puffy Chair is proof that you don't need money to make a great engaging comedy if you have good direction, a sharp intelligent script and actors who embrace the awkward realism and subtlety the film aims for.

The film's strongest aspect without a doubt is the acting. Despite the leads lack of experience or notoriety, Mark Duplass and Kathryn Aselton give great performances as the couple whose trip is crashed. As Josh, Mark Duplass captures the essence of a twenty something whose doubts and fear of commitment slowly destroy his relationship. Resorting to childish humor and baby talk as a defense mechanism, Duplass bravely embraces Josh's cowardice and repressed frustration. You can see in his eyes that he feels alone, the last sane man, despite the love he receives both his eccentric brother, another decent performance by Rhett Wilkins, and his girlfriend, played to great emotional bipolars by Kathryn Aselton.

In the end, The Puffy Chair is just a great movie, filled with great writing and direction from the Duplass brothers and acting that embraces realism while still being sharply intelligent and hilarious. It is a must see for any film lover.

The Oscar Hut Presents: One a Week!

A new feature here on The Hut will be a sort of rip off of Aint It Cool News' feature from Quint in which I will be watching a movie a week starting tommorow, based on random selection for the first week, after which I hope to recieve suggestions in the comment section below so enjoy the feature starting tommorow with mumblecore's The Duplass Brother's The Puffy Chair.

State of The Race Vol. 2 - 2009: Best Director

With the recent much publicized change within the Oscars, adding 5 more nominees to the Best Picture category, one has to wonder how this will affect the Best Director race. Will there ever again be a lone director nominee? Will this new development put more focus on the Directing nominees? How important will securing a directing nod be to a Best Picture contender now?

Given Oscar history there are plenty examples to be found that could prove or disprove any of these hypothesis, just look at Michael Curtiz, nominated for Angels with Dirty Faces back when ten nominees were the norm, despite the film itself not receiving a nod. In the end, while adding 5 nominees to the shortlist may devalue what it means to be a Best Picture nominee, it will no doubt increase the value of a Best Director nomination, especially if there is a lone director nominee this year. So, without further adieu, here are the ten most likely candidates for 2009's Best Director shortlist.

In Alphabetical Order:

Kathryn Bigelow for The Hurt Locker:

Unless you have been living under a rock for the last year or so, you are bound to have heard, read about or seen The Hurt Locker. The buzz on the movie has been deafening, as has the raves been for helmer Kathryn Bigelow, who has been getting props for injecting style and fierce veracity into her character study that just so happens to be set within the confines of the Iraq War. She has proven over the years to be adapt at genre filmaking, and with the Hurt Locker we are seeing the apex of her directorial powers. Whether or not she receives a nomination, it is very likely that the film will receive Picture, Actor, Editing and Cinematography nominations which in the end will only further amplify her buzz come time for critics and guild awards.

James Cameron (1 Nomination/1 Win) for Avatar:

For the past 20 years, James Cameron has been known as a technical genius and master of his craft, constantly pushing the envelope by creating new technology and visual f/x that has revolutionized the way we make films. Despite having not made a narrative feature film since 1997's landmark blockbuster Titanic, Cameron is an immediate threat for the Best Director race for Avatar, a science fiction adventure that takes him back to his roots in genre filmaking. While little is known about the actual story and what we will see on the big screen, there is no doubt that the technological advancements he has made in the filmaking process for this film will lead the Academy to want to honor him just for the sheer ambition and scope of his vision.

Jane Campion (1 Nomination) for Bright Star:

After receiving strong "comeback" reviews and a standing ovation at Cannes, Campion has forced herself back into the mix after last receiving a nomination for 1993's The Piano. Statistically speaking, being the only female director on this list with prior Oscar nominations and even a win for her screenplay, Campion has the best chance of becoming the first female director to receive 2 nominations. It also doesn't hurt that Bright Star, her film, is a period relationship drama and a biopic of sorts to boot. We will have a better idea of her chances once the reviews here in America start to roll out, but I have a feeling that Campion will secure a spot on the shortlist come next February.

Lee Daniels for Precious:

Lee Daniels is very likely a nominee this year for Precious, his Sundance award winning urban drama which received raves and rapturous applause upon it's debut at Cannes earlier this year. Due to the fact that besides The Hurt Locker, it is the most proven contender of the year having received raves at home and abroad it is likely that Daniels is carried along with it. It also doesn't hurt that Oprah has endorsed the movie, and the cast is phenomenal as well. Whether or not Precious is seen as an actors film, there is no doubt that Daniels is a top tier contender this year especially given that the Academy has the opportunity to be incredibly diverse by not only nominating a female director, but an African American director as well.

Clint Eastwood (4 Nominations/2 Wins) for Invictus:

This one is quite simple to explain. The Academy loves Clint, and thus have awarded him 4 Oscars in the past for Unforgiven and Million Dollar Baby, plus another 4 nominations for Mystic River and Letters From Iwo Jima. It also doesn't hurt that he is directing another Oscar favorite Morgan Freeman, in a period biopic of Nelson Mandela an internationally beloved symbol of Freedom and peace. After getting the shaft last year for Changeling and Gran Torino, it is likely that the Academy will want to make it up to him, even if the movie is more Changeling than Million Dollar Baby. Clint is another extremely likely contender for this list.

Peter Jackson (2 Nominations/1 Win) for The Lovely Bones:

After bringing us the trilogy that dominated the Oscars three years in a row, and a special f/x marvel in his remake of King Kong, Peter Jackson is back with his adaptation of international best seller The Lovely Bones which is the kind of story the Oscars go gaga for. Lovely Bones is a familial relationship drama of sorts that is set around the death of a young girl, otherwise known as Oscar bait. Jackson has at his dispersal an amazing cast, and also has everyone waiting to see what his version of Heaven will look like. Either way, Jackson is by now an Academy favorite and in accordance to that is a definite contender for Best Director this year.

Michael Mann (1 Nomination) for Public Enemies:

While Mann definitely has some committed fans, the Oscars have not been one of them having only ever liked his work on The Insider, and to a lesser degree Collateral. However, with decent reviews on his side for his stretching the look and feel of a period drama to include a grittier more digital presentation Mann may have his first hit within the Academy in a long time. Armed with a great cast boasting Johnny Depp's best performance of his career, excellent cinematography and great production design, it is likely that Mann's Public Enemies could be an all around hit come February.

Rob Marshall (1 Nomination) for Nine:

After narrowly missing out on Best Director in 2002 with his Best Picture winning hit Chicago, and again three years later with multiple Oscar winner Memoirs of a Geisha, Rob Marshall is returning in a big bad way with the highly anticipated musical Nine. Boasting a strong cast and typically beautiful technical achievements in production design, costumes and cinematography, Nine looks to be a sure thing this year, and the strongest contender for the most nominations come Oscar night, but will Marshall be brought along for the ride? The man obviously knows style and grace as shown in his previous credits, but have the Oscars tired of musicals with Hairspray, High School Musical 3 and others proving to be duds? Based on the trailer and speculation alone, I think that Marshall has a good chance of making the short list, but taking home the little gold man is a horse of a different color all together. We will have to wait and see.

Lone Scherfig for An Education:

The third and most low profile of the three female directors on this list, yet no less impressive is Lone Scherfig for her breakout Sundance success, An Education. Despite not being as well known or proven as Ms. Bigelow and Campion, Scherfig does have a leg up on the two given a few different factors. 1. She is directing a small coming of age dramady, the kind that Oscar loves, compared to Kathryn Bigelow's Iraq war genre. 2. An Education has been proven here at Sundance with raves and awards, something Campion's Bright Star has not having only seen success in Europe so far. 3. An Education boasts a breakout role for a beautiful and talented young girl, much like Juno did with Ellen Page last year. If the Academy and audiences fall for Carey Mulligan the same way they did for Page in 07, then the film as well as the director and screenwriter will be pulled in with her. Much like Jason Reitman and Diablo Cody. (which I know is not the best example)

Martin Scorsese (6 Nominations/1 Win) for Shutter Island:

What can you say about Martin Scorsese that hasn't already been said for the last 30 years. The man is a master of his craft, and has been on a hot streak as of late, the man has batted 1.000 with Audiences and the Academy this decade. Now, this year, with Shutter Island, Scorsese is returning to the horror, mystery, and thriller genre for the first time since 1991's Cape Fear, and based on the amazing trailer, boy is he on the top of his friggin game. If anything it looks like the man is having fun playing around with special f/x, moody lighting, creepy sets and suspense driven editing like a kid on Christmas. If The Departed has proven us anything, Scorsese is an automatic contender even if the movie doesn't seem to be Oscar fare, just as The Departed seemed last year. Given the competition he's facing this year from old foes like Clint Eastwood, and Peter Jackson and Rob Marshall, Marty may have a steep climb ahead of him to garner a 7th nomination, but I have a feeling that even he doesn't make it this year, his movie will.

State of The Race Vol. 2- 2009: Best Picture Part 2

- Nine: This is the last of three Oscar bait movies that I believe will make the top 10 list this year. The Academy likes Musicals enough, they love Rob Marshall, and it's clear they love the stars, I mean, look at that cast. Nine stars 2 time Oscar winner Daniel Day-Lewis in a role that requires him to sing and dance, not to mention a bevy of Oscar winning actresses in Marion Cottilard, Penelope Cruz, Judi Dench and Nicole Kidman, a 1 time nominee Kate Hudson and pop star Fergie. Also, based on it's trailer the movie looks like it will at the very least reap the most tech nods of the night, but that doesn't make it a sure thing, just look at Dreamgirls. Either way, Nine is one to watch out for this November.



- Precious: The one film on this list that has proven to be great besides The Hurt Locker, Precious has been receiving raves from the time it premiered at Sundance to it's international debut at Cannes where it received a standing ovation. Precious is the most likely nominee on the list on paper due to it's subject matter and the fact that it's looking to be this year's best indie film, it even has an endorsement from Oprah! Even if it doesn't score the nod, which is unlikely given that there are ten available, rest assured knowing that director Lee Daniels and stars Gabourney Sidibe and Mo'Nique will probably be reaping nods for their excellent work in this picture.



- Public Enemies: Is basically in the spot of being this year's Dark Knight, given that it is a serious film dressed up as a Summer blockbuster, and that it features an Oscar nominated Director at the top of his game. Michael Mann may not have hit it big with the Oscars since 99's The Insider, but with Public Enemies he directs an all around fantastic movie that has an awards friendly period story, stars the beloved Johnny Depp in his best performance yet along with the great Marion Cottilard, an entertaining Billy Crudup and Christian Bale who is solid enough but a bit subdued. I expect a great box office and a well timed January DVD release to boost this deserving film into a spot as a best Picture nominee.



- Shutter Island: Last week, Shutter Island probably wasn't a realistic contender for a Best Picture nomination. While I believed( and still believe) it would be my favorite and possibly one of the funnest movies of the year, Best Picture just seemed a bit unattainable for a Martin Scorsese genre flick. As of yesterday, the chickens are commin home to roost y'all. Shutter Island is now one of the most likely of the ten nominees because of Martin Scorsese's track record this decade, he's batting 1.000, it stars 3 time nominee Leonardo DiCaprio, and is shot, edited and designed by a stable of Oscar favorites. Plus, how fun does this movie look? I know I'm going to be first in line for this come October.



- Up: Finally we come to nominee # 10, and the film which has been talked about the most in regards to probably getting a Best Picture nod this year. After Wall-e and Ratatouille were talked up as possible contenders the last two years, it seems that Pixar could finally score that coveted nomination it has deserved about 6 or 7 times since Toy Story blew our minds away about 15 years ago. Despite the fact that it is inferior to Wall-e , Ratatouille, Finding Nemo and a few other Pixar classics, Up is definitely one of the more touchingly sweet Pixar films and surely one of the years best when it is all said and done. However, Up also has the most potential to be snubbed out of any film on this list. Despite adding 5 more nominations, one has to wonder if the Academy truly is biased against animated films, even if they are superior. If Wall-e couldn't do it, how could Up make it in? All of this will definitely become more clear in the coming months, so for now all we can do is wait and see.





Besides these ten there are almost more than 20 other films who will now be vying for Best Picture due to this new, wide open field of competition. I expect there to be more than a few suprises as we navigate our way through the rest of 2009's oscar season, and I know that I am not the only one excited by the future possibilities of the Academy Awards.

here is a list of other possible contenders for this year's Best Motion Picture category:
Amelia
An Education
Antichrist
Biutiful
Bright Star
Broken Embraces
Brothers
Cheri
Fish Tank
Green Zone
The Immaginarium of Dr. Parnassus
The Informant
Inglorious Basterds
Julie & Julia
The Last Station
Love Ranch
A Prophet
The Road
A Serious Man
Star Trek
The Tempest
Where The Wild Things Are
Within The Whirlwind

State of the Race No. 1 Vol. 2 - 2009 : Best Picture Part 1

With the recent news that this year's Academy Awards Best Picture category will be featuring 10 nominees compared to the usual 5 nominee rule that has been in place since the first got rid of the 10 back during the 40's, the race has definitely been shooken up quite a bit. Critical and audience favorites like Up and Star Trek could see nods despite being an animated and action film respectively. Early releases like Katherine Bigelow's The Hurt Locker and Michael Mann's Public Enemies may no longer have to fight as hard to get a spot on the kudos short list(or now long list?. Even a comedy, Funny People, from Judd Apatow now stands a fighting chance at ultimately recieving a nod. While the inclusion of an extra 5 films may make things seem less competitive, in the long run the race will become even tighter as more films will now be fighting, especially in the case of animated, foreign and comedic films which never before were reasonable contenders. So, which 10 will be good enough to earn one these coveted 10 spots on the list?

My predictions are: (In Alphabetical Order)

- Avatar: This is on my longlist of predictions for a variety of reasons. 1. This is James Cameron's first movie in more than a decade since 1997's Titanic, and you can bet that the Academy is looking out for this one. 2. The amount of money and new technology that has gone into this movie is titanic in its ammount (pun intended), if anything at all I'm almost 100 percent sure that Avatar will be a game changing film that changes the state of cinema. And finally 3. Despite the fact that I am not a fan of Titanic, I have to give Cameron props for being one of the best action and technical directors of his generation, having never really made a bad film since before Terminator. Avatar is bringing him back to the Sci-Fi Action genre that made his career.

- Funny People: Before anyone starts to come down on me for including it, please let me state my case. Despite the fact that for some reason it is popular on message boards to bash Judd Apatow, just think about this: Has Judd ever made a film that wasnt well recieved by critics and audience's alike? The 40 Year Old Virgin launched his career with a great box office, awsome reviews and even award nominations from groups like the WGA. When Knocked Up was released it was met with the same great box office and audience support as well as raves from many critics who included it in more than a few top 10 lists for 2007. Now, with Funny People being released in a few weeks Apatow has the potential to threepeat his former successes. With an amazing script and comparisons to Oscar winner James L. Brooks, Apatow faces his best odds yet of finally making it into the Academy.

- The Hurt Locker: Katherine Bigelow's Iraq set War drama analyzing a reckless bomb disarmer is now, in my opinion, the pre september release with the best chances of making it into the top 10 this year. It's already been awarded in Venice and by the Independent Spirit Awards, and it's buzz around the internet is currently at a feverpoint. Besides the fact that Katherine Bigelow is making waves for her amazing high octain direction, the film has also recieved raves for the performances of Jeremy Renner and Anthony Mackie, the film's cinematography, and it's editing. I think that The Hurt Locker has all the elements in place to shatter the public's weariness towards Iraqi War themed movies as well as the Academy's reluctance to nominate female directors. If this film can make a decent ammount of money at the box office and recieve a well place december/january dvd release, it should have no problem making it in to the list.

- Invictus: This is one of the three obvious Fall prestige dramas that have oscar buzz written all over it. Clint Eastwood is an Academy favorite, having won 4 Oscars for directing and producing Unforgiven and Million Dollar Baby along with nods for Mystic River and Letters From Iwo Jima. This year, with Invictus, Eastwood is a strong favorite for Best Picture and Director for his Morgan Freeman starring Biopic of Nelson Mandela. Could he make it any easier for himself? The Academy loves Clint, they love biopics, they love Morgan Freeman and with a December release date, Invictus is premiering in the heart of Oscar season. Unless the movie is a complete flop, expect Freeman and Clint to reap countless awards and nominations this year, including Best Picture. On paper, it's a slam dunk.

- The Lovely Bones: The same goes for The Lovely Bones which on paper is pure Oscar bait. Based on a best selling novel, Peter Jackson is directing a cast of Oscar nominees in a serious family drama that is both touching and tragic. Pairing Mark Whalberg, Rachel Weisz, Saoirse Ronan, Susan Sarandon and Stanley Tucci, the film has an oscar pedigree of stars, especially in the case of Saoirse Ronan who Steven Spielberg believs will win an oscar for her performance as a murdered child in heaven. The movie has the potential to hit big with crowds and women especially if it's a tear jerker, and critics given Peter Jackson's blemish-less filmography and history with the Oscars.

A short note on The Taking of Pelham 123

It was fun during the parts that took place beneath the ground, the action above ground was too Tony Scottsian if you ask me, his hyperkinetic style is starting to wear on my nerves. And there were some moments of ridiculous decisions on the characters parts, which I blame on Brian Helgeland, he is better than that usually.

The acting was ok, nothing special, it would have been more interesting to see the actors switch roles I think.

In the end, the original was better acted, better directed and had a much better ending.