Oscar nominations were announced this morning. Here’s how I did with my predictions and what I thought of the nominees.

BEST PICTURE:
My predictions:
The Artist
The Descendants
The Girl with the Dragon Tattoo
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse

Actual nominations:
The Artist
The Descendants
Extremely Loud and Incredibly Close
The Help
Hugo
Midnight in Paris
Moneyball
The Tree of Life
War Horse

My score: 8 for 9

My comments: The new voting system made predicting a real challenge this year, as there could have been 5 to 10 nominees. In order to make the cut, a film had to have passionate support (meaning enough Academy members put it at #1 on their ballot) to get the nomination. Because of this, I had a feeling the polarizing The Tree of Life would make it in, as those who love it (like me) REALLY love it. And conversely, a film like The Girl with the Dragon Tattoo is very respected but not loved, which explains it not making the final list. The shocker here is the inclusion of Extremely Loud and Incredibly Close, which goes down in history as being the worst-reviewed Best Picture nominee ever. But it obviously had its fans, and it most likely owes its nomination to its late release date, as it was still fresh on voters’ minds. To see it nominated over Harry Potter is sad.

My early prediction: The Artist.

BEST DIRECTOR:
My predictions:
David Fincher – The Girl with the Dragon Tattoo
Michel Hazanavicius – The Artist
Terrence Malick – The Tree of Life
Alexander Payne – The Descendants
Martin Scorsese – Hugo

Actual nominations:
Woody Allen – Midnight in Paris
Michel Hazanavicius – The Artist
Terrence Malick – The Tree of Life
Alexander Payne – The Descendants
Martin Scorsese – Hugo

My score: 4 for 5

My comments: I should have seen the Woody Allen love coming through here, but I thought Fincher to be equally respected. But, obviously, their respective films made the difference here, for all nominees come from Best Picture-nominated films, and Tatoo didn’t make the cut.

My early prediction: Martin Scorsese.

BEST ACTOR:
My predictions:
George Clooney – The Descendants
Leonardo DiCaprio – J. Edgar
Jean Dujardin – The Artist
Michael Fassbender – Shame
Brad Pitt – Moneyball

Actual nominations:
Damien Bechir – A Better Life
George Clooney – The Descendants
Jean Dujardin – The Artist
Gary Oldman – Tinker, Tailor, Soldier, Spy
Brad Pitt – Moneyball

My score: 3 for 5

My comments: This was the toughest category to call and ended up being the most surprising. While I am thrilled to see Gary Oldman recognized, I wasn’t a fan of his film (or his performance) and I truly believe Leo and Fassbender turned in far superior performances. I would have expected to see Michael Shannon here before Bechir, but Bechir’s SAG nomination should have been the red flag. The Academy loves uplifting movies and you can’t get more uplifting than A Better Life. And you can’t get more depressing than Shame. Don’t worry, Fassbender’s time will come. But his omission is a real blow to the Academy’s credibility, in my opinion.

My early prediction: George Clooney

BEST ACTRESS:
My predictions:
Glenn Close – Albert Nobbs
Viola Davis – The Help
Meryl Streep – The Iron Lady
Tilda Swinton – We Need to Talk About Kevin
Michelle Williams – My Week with Marilyn

Actual nominations:
Glenn Close – Albert Nobbs
Viola Davis – The Help
Rooney Mara – The Girl with the Dragon Tattoo
Meryl Streep – The Iron Lady
Michelle Williams – My Week with Marilyn

My score: 4 for 5

My comments: The fifth spot was always the iffy one and I thought the Academy would go for Swinton, who they love. But Mara slipped in here, and I am happy to see her bold performance recognized.

My early prediction: Viola Davis

BEST SUPPORTING ACTOR:
My predictions:
Kenneth Branagh – My Week with Marilyn
Albert Brooks - Drive
Nick Nolte – Warrior
Christopher Plummer – Beginners
Max von Sydow – Extremely Loud and Incredibly Close

Actual nominations:
Kenneth Branagh – My Week with Marilyn
Jonah Hill - Moneyball
Nick Nolte – Warrior
Christopher Plummer – Beginners
Max von Sydow – Extremely Loud and Incredibly Close

My score: 4 for 5

My comments: I knew Jonah Hill had a good chance, but I wouldn’t have thought he’d take Brooks’ place. But I just think Drive was too cool a movie for the Academy to recognize properly. I predicted von Sydow’s nomination because, well, it is the Academy. I really can’t believe the guy from Superbad is in instead of the guy from Broadcast News. Gotta love the Oscars.

My early prediction: Christopher Plummer

BEST SUPPORTING ACTRESS:
My predictions:
Bérénice Bejo – The Artist
Jessica Chastain – The Help
Melissa McCarthy – Bridesmaids
Janet McTeer – Albert Nobbs
Octavia Spencer – The Help

Actual nominations:
see above

My score: 5 for 5

My comments: No surprises here. I was hoping to see McCarthy included, as comic performances, especially raunchy ones, aren’t often recognized. Chastain really shone in a film that featured two other incredible performances, I’m glad to see she made it, although her body of work this year was probably what put her over the top.

My early prediction: Octavia Spencer

BEST ADAPTED SCREENPLAY:
My predictions:
The Descendants – Nat Faxon, Alexander Payne, Jim Rash
The Girl with the Dragon Tattoo- Steven Zaillian
The Help- Tate Taylor
Hugo- John Logan
Moneyball- Story by: Stan Chervin; Screenplay by: Aaron Sorkin, Steven Zaillian

Actual nominations:
The Descendants – Nat Faxon, Alexander Payne, Jim Rash
Hugo- John Logan
Ides of March- George Clooney, Grant Heslov, Beau Willimon
Moneyball- Story by: Stan Chervin; Screenplay by: Aaron Sorkin, Steven Zaillian
Tinker, Tailor, Soldier, Spy- Bridget O’Connor, Peter Straughan

My score: 3 for 5

My comments: It’s clear now that the Academy’s love for The Help revolves around the performances, and not much else. I should also have seen Ides and Tinker coming, one is George Clooney and the other is a complicated mess—that has Oscar written all over it. At least Steve Zaillian doesn’t have to compete against himself.

My early prediction: Moneyball

BEST ORIGINAL SCREENPLAY:
My predictions:
The Artist – Michel Hazanavicius
Beginners – Mike Mills
50/50 – Will Reiser
Midnight in Paris – Woody Allen
Win Win – Thomas McCarthy, Joe Tibani

Actual nominations:
The Artist – Michel Hazanavicius
Bridesmaids – Annie Mumolo, Kristen Wiig
Margin Call – J.C. Chandor
Midnight in Paris – Woody Allen
A Separation – Asghar Farhadi

My score: 2 for 5

My comments: Kristen Wiig is nominated for an Oscar. I’ll take it.

My early prediction: Midnight in Paris

BEST ANIMATED FEATURE:
My predictions:
The Adventures of Tintin
Cars 2
Kung Fu Panda 2
Puss in Boots
Rango

Actual nominations:
A Cat in Paris
Chico and Rita
Kung Fu Panda 2
Puss in Boots
Rango

My score: 3 for 5

My comments: 1) Pixar isn’t perfect. 2) The animators hate performance-capture.

My early prediction: Rango

Overall, I’ve never been so underwhelmed by the nominations as I was this morning. Maybe they were too predictable. Or maybe it’s because I can’t remember a year when I’ve been so underwhelmed by the films in general. Even the ones I was passionate about, like The Tree of Life and Hugo, had serious flaws. It looks like this is The Artist’s year, which would make sense. A throwback movie about the wonderful early days of Hollywood. Maybe it’s just wishful thinking.

To see the entire list of nominations, visit www.oscar.com
Watch the Oscars live on ABC on Sunday, February 26, 7pm EST/ 4 PST.

1. Tree of Life
2. Hugo
3. Moneyball
4. The Adventures of Tintin
5. The Descendants
6. The Artist
7. Bridesmaids
8. Drive
9. Hanna
10. Beginners
11. Harry Potter and the Deathly Hallows, Part 2

THE BEST (AND WORST) OF THE YEAR IN MOVIES AND TV

MOVIES:

BEST OPENING SEQUENCE:
Melancholia

BEST SCENE:
The elevator scene in Drive

BEST SOUNDTRACK:
Hanna (score by The Chemical Brothers)

BIGGEST SURPRISE:
Midnight in Paris

BIGGEST DISAPPOINTMENT:
Tinker, Tailor, Soldier, Spy

BEST SEQUEL:
Harry Potter and the Deathly Hallows, Part 2

WORST SEQUEL:
Hangover Part II

BEST SONG PLAYING OVER OPENING CREDITS:
TIE:
“Immigrant Song” from The Girl with the Dragon Tattoo
“Nightcall” from Drive

GREAT SCENE IN A TERRIBLE MOVIE:
Ryan Gosling and Emma Stone’s first date in Crazy, Stupid, Love

click here to keep reading The Best (and Worst) of 2011 »

I’m exhausted. I just spent the last 2 ½ hours getting raked over the emotional coals and I am officially wrecked. I surrendered to the master and now I am a pile of goo, desperately needing a dose of comic or cynical relief.

Spielberg has struck again.

Every director has his sweet spot. Steven Spielberg has two: war movies and sentimental heart-tuggers. Truly, nobody can deliver either the way he can. So, when you combine them in the same film, look out. War Horse could just be the ultimate Steven Spielberg movie. And that’s saying a lot.

click here to keep reading War Horse »

Tintin was a big deal for me growing up. I had every book and read each of them at least a hundred times. I assumed that every kid on the planet loved Tintin as much as I did. The series of comic stories, by Belgian author Herge, were the tales of Tintin, a young journalist whose constant search for a good story often led him to great adventures. There were always colorful (and usually complicated and intelligent) villains, and Tintin’s group of cohorts who would often accompany him on his travels were even more outlandish, including a bumbling pair of Clouseau-type detectives, Thompson and Thomson (the inspiration for the popular ‘80s new wave band Thompson Twins), a crusty, perpetually-drunk but ever-loyal sea captain, Captain Haddock, and, of course, Tintin’s constant companion, his trusty dog Snowy, who rescues our hero on more than one occasion. There was no Tintin without Snowy.

There were 23 adventures in total, and I had every one. I grew up in Germany, and Herge’s comics had been translated, I found out later, into almost every language on the planet, so I was able to find Tintin in the local English bookstore. All my friends read Tintin. His adventures were a common language. I couldn’t imagine life without him.

But when I came back to the States, I found out that Tintin never made it to America. Unlike fellow Belgian comic book writer Peyo, whose Smurfs cartoon characters did cross the pond to find success with American children, Tintin for some reason just didn’t translate. HBO did run a BBC series in the early ‘90s, but it never caught on. So, naturally, when I heard that legendary director Steven Spielberg (and producer Peter Jackson) had signed on to be the one to finally bring my beloved boy reporter to American audiences, I was thrilled. I thought there would be no one better to translate Tintin’s spirit of adventure and show America what they’d been missing.

I was right.

click here to keep reading The Adventures of Tintin »

Ok, Robert Downey, Jr. I’m happy that you have resurrected your career, that you have come back from drugs and jail and overcome the “nobody will ever work with you again” label. I know you probably feel like you’ve got a lot to prove and want to take advantage of this second life, but, seriously—-stop. Stop with the schtick. You used to be a really good actor, Oscar-nominated and versatile. Now all you seem to know how to play is a snarky, over-the-top smartass. And, quite frankly, it’s getting old.

I’ll admit I liked the first Sherlock Holmes, the 2009 Guy Ritchie reboot featuring Sir Arthur Conan Doyle’s famous characters, legendary detective Sherlock Holmes and his loyal partner, Dr. Watson. But the second installment, Sherlock Holmes: A Game of Shadows, feels too much like a formula run amuck, with a gimmick that just doesn’t work anymore. The characterization originally created by Downey for the character of Sherlock was refreshing and interesting the first time around. Normally portrayed as a staid, stuffy brainiac, Sherlock was now a hip, action-oriented joker who alternates between buffoonery and brilliance. This played well against Watson’s (played by Jude Law) by-the-book predictability and their chemistry as characters and actors—along with Ritchie’s slam bang visual style—made for one hell of a good time. The second time around, however, is a disappointing rehash of style and substance, punctuated by Downey’s “look how clever I am” performance that undercuts any likeability for the character or the movie itself.
click here to keep reading Sherlock Holmes: A Game of Shadows »

Watching David Fincher’s The Girl with the Dragon Tattoo was like visiting an old friend. A twisted, disturbed, abused, cynical and insane friend who calls you at 4am needing you to bail them out of jail…but a friend nonetheless.

It is difficult, I will admit, to be objective in my review of The Girl with the Dragon Tattoo. I so loved the book and I loved even more the Swedish film, starring Noomi Rapace as the incomparable Lisbeth Salander, the outcast heroine of the Stieg Larsson Millennium trilogy of best-selling books. I knew it would be difficult for any actress to do any better than Rapace does in embodying a character so layered, deep, dark and fascinating, but American actress Rooney Mara certainly gives it her best shot.

click here to keep reading The Girl with the Dragon Tattoo »

Who knows if director Jason Reitman and/or screenwriter Diablo Cody fell into the category of high school outcasts, but their newest film, Young Adult, sure feels like revenge. It does dig a little deeper than that but, in the end, you just can’t help but find yourself secretly hoping all the pretty bullies you hated in high school ended up this way.

And that’s the thing about Young Adult: it doesn’t even pretend to be anything but a condemnation of the high school class system and channels its dark comedy through the schadenfreude of audience members who root for the downfall of the arrogant, selfish and mean former prom queen, played to perfection by Charlize Theron. Theron plays Mavis, a broken-down, pathetic and completely oblivious woman who still believes she’s the young, beautiful and perfect girl she was in high school, despite now being 37, divorced, alone and on a downward spiral of a career.

click here to keep reading Young Adult »

What am I missing? Apparently, a lot. Tinker, Tailor, Soldier, Spy is supposedly, according to nearly all critics, a brilliant, exciting, suspenseful and well-made film adaptation of the John LeCarre classic spy novel. I just didn’t see it.

For me, Tinker, Tailor, Soldier, Spy was a cold and calculating morass of characters and plot devices so densely intertwined that I was so lost early on that by the time I caught up, I had stopped caring. There’s probably a reason why there had never been a big-screen adaptation of the famous novel before now—because there is just too much going on and too much ground to cover to tell the story in a two-hour film. Hell, it required a SEVEN-part miniseries back in 1979.

Maybe the film would have been better suited in the hands of a different director, who knows. Swedish director Tomas Alfredson’s only previous English-language film was 2008’s Let the Right One In, a chilling and brave film about a child vampire. Alfredson’s style is gritty and stark, which would lend itself to the dank and heartless environs of Cold War spies, but when it comes to cramming in all the plot machinations and necessary character development, Tinker Tailor needed more than style: it needed Cliff’s Notes.

It’s not that Alfredson didn’t have a stellar cast to work with, including Tom Hardy, Colin Firth, John Hurt and the brilliant Gary Oldman, who is being praised for turning in one of the best performances of his career. Unfortunately, Oldman’s performance was too one-note for me, as he laid on the quiet, chilly and calculating spy routine a little thick. I would have loved to have seen Oldman use more of his skills here, but Alfredson reins him in so much that Oldman couldn’t be more restrained if he were asleep.

Overall, Tinker, Tailor, Soldier, Spy left me baffled and bored. I’m definitely in the minority here, so if this is your kind of movie, don’t let me keep you from going. But you might just be better off buying the book. Then maybe you can tell me what happened.

Most of us will never know what it’s like to crawl into another skin. It’s hard enough being in our own. Movies, however, are designed to illuminate the human condition—all conditions—and beg us to open our minds to the experience of another person, in order to, hopefully, gain a better knowledge of those around us. It’s a temporary putting on of another life, one we can watch/live through for two hours and then leave behind, along with our empty popcorn bucket and candy wrappers.

Some are harder to let go of than others.

I knew exactly what I was getting when I bought my ticket to see Shame. The first thing you know about it is its rating: NC-17 (the rating that replaced X in 1990), widely regarded as the kiss of death in Hollywood. The second thing you know is it stars two of the hottest actors in Hollywood right now, Michael Fassbender and Carey Mulligan. Surprisingly, there was a film that flirted with an NC-17 rating just last year, also starring two hot young actors, Ryan Gosling and Michelle Williams in Blue Valentine. That movie, however, was able to make some minor cuts and was successfully released with the more box-office (and Academy)-friendly R rating.

There will be no such luck for Shame. Cutting Shame to get an R rating would leave no movie left.
click here to keep reading Shame »