Oh, the Oscars

Well, I suppose I can't deny it anymore. With the nominations out, Oscar hysteria is now at full throttle. Even more so this year due to a few Academy surprises, most notably the absence of Kathryn Bigelow ("Zero Dark Thirty") and Ben Affleck ("Argo") from the Best Director list, despite both of their films being included in the Best Picture category.

But when has the Academy ever really gotten it right? Or perhaps a better question is, whose "right" are we talking about? Each year I'm amazed at how worked up everyone seems to get over the Oscar race. Either people feel vindicated when the movie they championed made the cut, or disgusted when it didn't. Maybe they think the selections are overly commercial, or they're complaining that they're too arty for a mass audience. Perhaps they blame the Academy members, calling them a bunch of old fogies. Or maybe they're saying that the voting population is packed with left wing nuts who hold political grudges against films or filmmakers.

Every year these arguments get trotted out, whipped into a frenzy in the weeks leading up to the star-studded night, then slowly seep away like a malfunctioning whoopee cushion as everyone shifts their focus to what really matters -- how boring/funny/long/controversial the awards broadcast was.

I can understand all the hoopla and hysteria over a campaign that had to do with something that actually affected our lives -- like, you know, an election.  Even if the democratic process is starting to seem like donor-backed political theater, it's still a process that, in the end, each and every eligible citizen can participate in.

But the Oscars? It's all hot air. It's movie studios spending months and millions ramping up their lobbying efforts to convince an exclusive group of individuals to support their candidate. Sometimes really amazing work is rewarded with a statue, and all the glory and money that comes with it. Just as often, a hack gets the gold. Again, it depends on who's talking and, when it comes to the Oscars, it isn't the moviegoer that anyone's listening to. More often than not, it's the Weinsteins.

The best spin I can put on it is that it's horse race political coverage with no real consequence. In politics, all that breathless minute-by-minute reporting tends to  distract and detach the voting public from what's happening in the larger context -- stuff that actually effects their lives. But with the Academy Awards we can root and hoot, complain and caterwaul, ogle designer gowns and celebrity dates, all without undermining our own democracy. I guess that's what you call entertainment!

So what do I think of the nominations.  Well, first of all I'm happy to say I interviewed two five of this year's nominees: director Ang Lee ("Life of Pi"), "Beasts of the Southern Wild" director Benh Zeitlin and lead actress  Quvenzhané Wallis, and screenwriter John Gatins ("Flight"), which is kind of cool to say. Otherwise, here are my thoughts in bullet point:

• Passing on Bigelow was an overstated and unjustified slap in the face.
• Passing on Affleck, petty.
• Love that "Amour" got so much love. Same for "Silver Linings Playbook."
• A bit baffled that "Django Unchained" made it to Best Picture, but pleased Christoph Waltz did too.
• I was sure Joaquin Phoenix would be ignored since he's so bitter about Oscar campaigning, but thrilled he wasn't because he was amazing in "The Master." 
• Disappointing that Jean-Louis Trintignant wasn't recognized for his amazing work carrying the other half of "Amour's" heavy load, but Emmanuelle Rivas' recognition is a delight.
• Nice to see "Searching for Sugarman" on the documentary list (I neglected to mention it in my cheat of a Top 10 - plus 12 more - list). Equally pleased that the overhyped, accidental commentary on the most vulgar of American consumerism, "Queen of Versailles," was left off.

If I make it through the campaign season, I'll give you my predictions when we get a little closer to the big night. In the meantime, don't you have some movie catch-up to do?

Close the Book on 2012

All in all, this was a pretty darn good year for film. Or maybe I should say, a pretty darn good last three months since so much of the good stuff got jammed in at the end of the year, just in time for awards season.

It seemed like the studio screeners came later than usual this year and, since a birthday significant enough to celebrate fell right smack dab in the middle of the mad scramble of advance screenings, it seemed impossible that I would be able to see everything worth considering. I know I didn't in time for the San Diego Film Critics Society vote, but I participated as best I could and am generally happy with the winners.

I had more time to cram before the deadline for my own end of the year list, and since I cheated by working in an "also try" section of a dozen smaller, lesser-known films worth seeking out, I feel like I've 2012 some justice.

Between the deadline for my year-end summary and today, I've had time to pop in a few more DVDs that never quite made it to the top of the pile, but deserve a shout-out, so here goes:

"ParaNorman" and "Wreck-it Ralph" - I admit it. I tend to avoid the kid stuff since I don't have kids and feel completely out of my element trying to assess what is kid-friendly. And then I watch a great animated film like "ParaNorman" and, to a lesser extent, "Wreck-it Ralph," and remember that only the bad ones are strictly for kids. After our critics group picked "ParaNorman" as best animated film of the year (I abstained from that vote), I gave it a shot and was simply delighted at what I experienced. It's the first animated film in a long while that I've wanted to immediately watch again. I'd watch "Ralph" again too, if just to catch the hundreds of visual gags and references I'm sure I missed the first time, but I'd turn down the volume -- it gets about as irritatingly clamorous as an 80's arcade.

"Ai Wei Wei: Never Sorry" - This was the one documentary I just wasn't able to get to and I really wish I had. Watching this artist/activist take on the Chinese government and model the role of the rebellious artist for his countrymen and women was truly inspiring, and even frightening. (The film is also an unintended Twitter infomercial). I definitely found another hero to admire.

"Room 237" - I always believed I was traumatized when a babysitter allowed me to watch "The Shining," but insisted I run right to bed when my mom came home. After watching "Room 237," I know I was. I was just a little older than Danny, the little kid with the extrasensory gift, and I still recall the cold shiver of terror that ran through my body as I sprinted through the house and pretended to be asleep in my pitch black bedroom.

I hoped I could find someone to watch the documentary with me, but last night I finally gave in and watched it all alone in my apartment. I thought since it was about the crackpot theories that fans of the film have devised over the years  (actually, one of them I totally buy), and not the creepy film itself, I thought I could handle it. For much of the film, narrated by the perpetually off-camera theorists over corresponding footage from "The Shining" and other films, I could. It feels like a strange puzzle poem of imagery, with recognizable actors and scenes acting out the text. But once I clicked in to director Rodney Ascher's rhythm, the cold shiver returned.

Maybe it's the distinctive music, the possessed face of Jack Nicholson, those damn Arbus twins, or just the fact that Kubrick himself was such an enigma, but I just don't think I'll ever be able to treat "The Shining" as a text for critical study. I'll leave that to the crackpots.

Annual Oscar Complaint and Predictions

I have a serious love/hate relationship with the Academy Awards. As a television viewing event, it's by far my favorite -- even when it's torturously long, cheezy or just plain infuriating. Ripping on it is just as enjoyable as the rare moments of spontaneous elation (Cuba Gooding Jr.'s "Jerry Maguire" glee still probably tops it).

I never really had friends who enjoyed watching the telecast, which was fine  because it's really a tradition reserved for my mom and me. We both know when it's acceptable to talk during the broadcast, when to keep our mouths shut and, most importantly, we've actually seen most of the movies.

And now, the hate. The entire premise that the Academy Awards have anything to do with the "best" films of a particular year is beyond bunk. It's politics, pure and simple, covered with the same depth and perspective as the horse race primary coverage for the Republican presidential nomination. None of it has to do with the actual quality of the candidate, but how much money he has in the bank and how many commercials he can put on the air. It's a competition, yes. But one of marketing savvy, not filmmaking (just ask the Weinsteins).

And even if it was a legitimate competition between films, what's the point of that? Can you REALLY fairly compare "Tree of Life" to "Hugo?" And why would you want to in the first place? Ranking art (or at least attempts at art) is a premise that completely undermines the idea of art in the first place.

And if that argument doesn't convince you how silly it all is, then this one should: "War Horse" was nominated for Best Picture. Yes, "Extremeley Loud and Incredibly Close" is also an injustifiable inclusion in the category, but at least I could sit through the entire thing. I found "War Horse" to be so tedious and predicatable that I actually got up and left half-way through, something I've never done before. (And this from a girl who has a slight equine obsession.)

It wasn't until I became a professional film critic that any of this really bothered me because it suddenly became part of my job to participate in the ranking, or at least comment on it. Don't get me wrong, I'm excited to watch the Oscars tonight. I'll be with my mom, with Billy Crystal on-screen, just like the good old days. But when so-and-so's name is announced as the winner, I won't be thinking that anyone really "won."

So now that I've taken all the joy and relevance out of the Oscars, here are my picks for the winners. Please keep in mind that politics really isn't my beat, but I did a fair amount of research -- and made a few Hail Mary picks of faith--so this really is my best effort. Let me know how you fared!

Alison Gang's Oscar Picks

84th Academy Awards 2012

You can read my justifications for the first six categories here.

• Best Picture: "The Artist"
• Best Director: Michel Hazanavicius, "The Artist"
• Best Actor: Jean Dujardin, "The Artist" (but Clooney is almost as likely a winner)
• Best Actress: Viola Davis, "The Help"
• Best Supporting actor: Christopher Plummer, "Beginners"
• Best Supporting Actress: Octavia Spencer, "The Help"
• Best Animated Feature Film: "Rango"
• Best Foreign Film: "A Separation"
• Best Original Screenplay: "Midnight in Paris"
• Best Adapted Screenplay: "The Descendants"
• Best Art Direction: "Hugo"
• Best Costume Design: "The Artist"
• Best Cinematography: "The Tree of Life" (this is one of the few picks I'm making out of sheer hope, because Malick's film should be recognized for something and this would be the most fitting category)
• Best Film Editing: "The Artist"
• Best Makeup: "The Iron Lady" (though I really want to be wrong. I'm pulling for "Potter." If "Albert Nobbs" wins, I might jump out a window.)
• Best Sound Editing: "Hugo"
• Best Sound Mixing: "Hugo"
• Best Visual Effects: "Rise of the Planet of the Apes" (really, how could anything else win?)
• Best Original Song: "Man or Muppet" 
• Best Original Score: "The Artist"
• Best Documentary: "Undefeated" (but I'm rooting hard for "Pina")
• Best Documentary Short: "God is the Bigger Elvis" (admission: haven't seen any films in this category, but this sounds like a promising pick)
• Best Animated Short: "The Fantastic Flying Books for Mr. Morris Lessmore"
• Best Live Action Short: "The Shore" 

Obligatory Best of 2011 List

Well, here we are again. That time of year when I tell you how wrong it feels to whittle down an entire year's worth of films into a handy Best Of list. How does Terrence Malick's "The Tree of Life" stack up against Paul Feig's "Bridesmaids?" Do I opt for the silent glory of "The Artist" or the uncanny primates in "Rise of the Planet of the Apes?"

Film isn't just one thing -- a "movie." It's everything: art, entertainment, music, story, experimentation, hope, death, revolution, joy, sleaze, divinity, despair. To rank them on the same scale seems entirely unfair.

What I can do is offer an unranked list of titles that left an impression on me in 2011, whether for pure entertainment value, a breathtaking performance or a show of artistry that took a few viewings to fully appreciate. So here you have it, my list of notable films of 2011.

My top 5 (really 6) list appears in today's Union-Tribune. I've listed them here but click the link for a brief justification for each.

"The Artist"

"Buck" and "Bill Cunningham New York"

"Drive"

"Of Gods and Men"

"Hugo"

If I'd chosen my top five on another day, I could just have easily substituted one of these three films for "Hugo" (the other films are solidly in place).

"The Descendants"

While I was immediately blown away by Shailene Woodley's performance, it took two viewings of Alexander Payne's family dramedy to really draw me in -- but it was well worth it.

"Midnight in Paris"

With the exception of Rachel McAdams' shrill character, Woody Allen's Parisian fantasy was pure joy.

"The Tree of Life"

A visual poem that envelops you in memory, light, existence...until Sean Penn's mug drags you back to an unwelcome reality.

A few more films worthy of honorable mention:

"Certified Copy"

Having seen it only once, director Abbas Kiarostami's film is a puzzle that I've only half solved. I can't wait to give it another viewing and see what other pieces of this indeterminate relationship I can piece together. Either way,  it's impossible not be be taken in by Juliette Binoche.

"Last Lions" and "Project Nim"

I admit it, I'm a sucker for documentaries about animals, especially when they take out your heart and stomp it to bits. In "The Last Lions," the circle of life is to blame for one lioness' struggles. But chimpanzee Nim can point the finger at a few too many despicable humans.

"Like Crazy"

The level of intimacy director Drake Doremus can create through this mostly improvised film is sometimes more effective than you're prepared for. And actress Felicity Jones declares herself to be the Jessica Chastain of 2012 (I hope).

"Moneyball"
I was happy to see a movie about baseball with very little baseball in it (others saw this is a negative), but Brad Pitt's performance as Oakland A's general manager Billy Beane was the film's greatest accomplishment.

"Rise of the Planet of the Apes"

I went in thinking Franco could do no wrong. I walked out thinking, "Franco, who?" This prequel was the most enjoyable surprise of the year.

"Take Shelter"
If you don't know Michael Shannon's name by now, his performance as a husband and father battling apocalyptic visions is the perfect introduction. You most certainly know Jessica Chastain's name after this year, and you'll see why yet again here.

"Weekend"

A gem of a little film about a weekend-long romantic encounter between two young men that transforms them both in subtle, unexpected ways. 

Thanks to everyone who's joined me on this journey through the films of 2011. Here's to a 2012 full of good film, great friends and lots of love.

Scoresheet: 17 out of 24 (and pretty damn bored)

AFter getting of to a rocky start, I ended up doing better than I ever have before -- 17 out of 24 (70.8%). Does that mean I have to make an effort again next year? 


The show was awfully boring, even with Franco as a bonus. But Anne's dresses were divine (except that last one) and, well, if I didn't have my Facebook friends to snark with (and my mom in real life), I would be even grumpier. But at least it's over!


Best Picture
Winner: "The King's Speech"
My pick: "The King's Speech"

Best Director
Winner: Tom Hooper, "The King's Speech"
My pick: David Fincher, "The Social Network"

Best Actor
Winner: Colin Firth, "The King's Speech" 
My pick: Colin Firth, "The King's Speech"

Best Actress
Winner: Natalie Portman, "Black Swan" My pick: Natalie Portman, "The Black Swan"

Best Supporting Actor
Winner: Christian Bale, "The Fighter"
My pick: Christian Bale, "The  Fighter"

Best Supporting Actress
Winner:Melissa Leo, "The Fighter" 
My pick: Hailee Steinfeld, "True Grit"

Best Adapted Screenplay
Winner: "The Social Network," Aaron Sorkin
My pick: "The Social Network," Aaron Sorkin

Best Original Screenplay
Winner: "The King's Speech," David Seidler
My pick: "The King's Speech," David Seidler

Best Animated Feature Film
Winner: "Toy Story 3"
My pick: "Toy Story 3"

Best Foreign Film
Winner: Nominees:  "In a Better World" (Denmark)
My pick: "In a Better World" (Denmark)

Best Art Direction
Winner: "Alice in Wonderland"
My pick: "Inception"

Best Costume Design
Winner: "Alice in Wonderland," Colleen Atwood
My pick: "Alice in Wonderland," Colleen Atwood

Best Documentary
Winner: "Inside Job" 
My pick: "Exit Through the Gift Shop"

Best Film Editing
Winner: "The Social Network"
My Pick: "The Social Network"

Best Cinematography:
Winner: "Inception"
My pick: Roger Deakins, "True Grit"  

Best Makeup
Winner: "The Wolfman"
My pick: "The Wolfman"

Best Sound Editing
Winner: "Inception" 
My pick: "Inception" 

Best Sound Mixing
Winner: "Inception"
My Pick: "Inception"

Best Visual Effects
Winner: "Inception"
My pick: "Inception"

Best Documentary (Short Subject)
Winner: "Strangers No More"
My pick: "Strangers No More"


Best Original Score - somehow this got left off my list of picks (along with Original song). But I swear I got it right BEFORE they announced it.
Winner: "The Social Network"
Meant to pick: "The Social Network"


Original Song - Oops (see above)
Winner: "We Belong Together," Toy Story 3
My pick (BEFORE the announcement): "If I Rise," 127 Hours

Best Visual Short Film (Animated)
Winner: "The Lost Thing"
My pick: "Madascar, carnet de voyage (Madascar, a Journey Diary)"

Best Short Film (Live Action)
Winner: "God of Love"
My pick: "God of Love"

My Oscar Ballot: I can't believe I voted on the whole thing

After much procrastination, here's my complete list of Oscar predictions. I've already elaborated on my "no-brainer," "educated guess" and "head-scratcher" reasoning in the major categories here and, if I can muster up any rationalizations for the remainder, I've included them below. Even though I regret it practically every year, I couldn't help but throw in a few votes that are more wishful thinking than the cold and likely truth. But, when it comes down to it, your heart is more valuable than your accuracy (at least when it comes to Oscar ballots).


Best Picture
Nominees: "Black Swan," "The Fighter," "Inception," "The Kids Are All Right," "The King's Speech," "127 Hours," "The Social Network," "Toy Story 3," "True Grit," "Winter's Bone"
No-brainer: "The King's Speech"


Best Director
Nominees: Darren Aronofsky, "Black Swan;" Davis O. Russell, "The Fighter;" Tom Hooper, "The King's Speech;" David Fincher, "The Social Network;" Joel and Ethan Coen, "True Grit"
Head-scratcher: David Fincher, "The Social Network"


Best Actor
Nominees: Javier Bardem, "Biutiful;" Jeff Bridges, "True Grit;" Jesse Eisenberg, "The Social Network;" Colin Firth, "The King's Speech;" James Franco, "127 Hours"
No-brainer: Colin Firth, "The King's Speech"


Best Actress
Nominees: Annette Bening, "The Kids Are All Right;" Nicole Kidman, "Rabbit Hole;" Jennifer Lawrence, "Winter's Bone;" Natalie Portman, "Black Swan;" Michelle Williams, "Blue Valentine"
Educated Guess: Natalie Portman, "The Black Swan"


Best Supporting Actor
Nominees: Christian Bale, "The Fighter;" John Hawkes, "Winter's Bone;" Jeremy Renner, "The Town;" Mark Ruffalo, "The Kids Are All Right;" Geoffrey Rush, "The King's Speech"
Educated Guess: Christian Bale, "The  Fighter"


Best Supporting Actress
Nominees: Amy Adams, "The Fighter;" Helena Bonham Carter, "The King's Speech;" Melissa Leo, "The Fighter;" Hailee Steinfeld, "True Grit;" Jacki Weaver, "Animal Kingdom"
Head-scratcher: Hailee Steinfeld, "True Grit"


Best Adapted Screenplay
Nominees: "127 Hours," "The Social Network," 'Toy Story 3," "True Grit," "Winter's Bone"
No-brainer: "The Social Network," Aaron Sorkin


Best Original Screenplay
Nominees: "Another Year," "The Fighter," "Inception," "The Kids Are All Right," "The King's Speech"
Educated guess: "The King's Speech," David Seidler


Best Animated Feature Film
Nominees: "How to Train Your Dragon," "Illusionist," "Toy Story 3"
No-brainer: "Toy Story 3"


Best Foreign Film
Nominees: "Biutiful" (Mexico), "Dogtooth" (Greece), "In a Better World" (Denmark), "Incendies" (Canada), "Outside the Law" (Algeria)
Head-scratcher: "In a Better World" (Denmark)
It's hard to take a category seriously that doesn't include "I Am Love" (Italy), "Carlos" (France) or "Of Gods and Men" (France), so I don't feel all that terrible that I've only seen two of the five nominees --"Dogtooth" and "Biutiful," the former an occasionally riveting but mostly disappointing excuse to get pervy on screen, and the latter an indulgent mopefest (with a good actor suffering through). So I'm going with the Danes--and most Oscar prognosticators--with my pick here.


Best Art Direction
Nominees: "Alice in Wonderland," "Harry Potter and the Deathly Hallows Part 1," "Inception," "The King's Speech," "True Grit"
Head-scratcher: "Inception"
If voters got lazy and just started checking "The King's Speech" for everything, I'm screwed in this category--if not many others. "Alice" could be a winner here as well but I'm hoping voters will recognize "Inception" for its visual appeal, which I found dazzling- and unexpectedly architectural.


Best Costume Design
Nominees: "Alice in Wonderland," "I Am Love," The King's Speech," "The Tempest," "True Grit"
Educated Guess: "Alice in Wonderland"
Colleen Atwood's designs rescued Tim Burton's film from total madcap drudgery.


Best Documentary
Nominees: "Exit Through the Gift Shop," "Gasland," "Inside Job," "Restrepo," "Waste Land"
Educated Guess: "Exit Through the Gift Shop"
Because I really want to see what happens when Banksy's name is called (plus the film is fantastic and, I believe, true).


Best Film Editing
Nominees: "Black Swan," "The Fighter," "The King's Speech," "127 Hours," "The Social Network"
Head-scratcher: "The Social Network"
A pretty impressive category indeed, but I'm guessing voters will want to bump up "Social Network's" Oscar count, and this category is as justifiable as any.


Best Cinematography:
Nominees: "Black Swan," "Inception," "The King's Speech," "The Social Network," "True Grit"
Educated Guess: Roger Deakins, "True Grit"  
After nine nominations, Deakins deserves an Oscar already. And the film is simply gorgeous.


Best Makeup
Nominees: "Barney's Version," "The Way Back," "The Wolfman"
Educated Guess: "The Wolfman"
Most boring list of nominees ever and I hate that I even have to think about this crappy movie again, let alone pick it as a winner for something.


Best Sound Editing
Nominees: "Inception," "Toy Story 3," "TRON: Legacy," "True Grit," "Unstoppable"
Educated Guess: "Inception" 
I suspect voters will dump a lot of these technical awards on "Inception" and leave it out of most everything else. Appropriate, I think (except for leaving Nolan out of the director category). But it would be really fun if "Unstoppable" took home the statue.


Best Sound Mixing
Nominees: "Inception," "The King's Speech," "Salt," "The Social Network," "True Grit"
Educated Guess: "Inception"
Ditto above, with "Salt" as the most entertaining spoiler.


Best Visual Effects
Nominees: "Alice in Wonderland," "Harry Potter and the Deathly Hallows Part 1," "Hereafter," "Inception," "Iron Man 2"
No-brainer: "Inception"
I just refuse to believe that they'll snub Nolan here, especially with competition like "Hereafter" for God's sake.


Best Documentary (Short Subject)
Nominees: "Killing in the Name," "Poster Girl," "Strangers No More," "Sun Comes Up," "The Warriors of Qiugang"
Head-scratcher: "Strangers No More"
Since I've seen nothing in this category, I'm going with the one that sounds most uplifting, in this case Karen Goodman and Kirk Simon's film about an Israeli school for refugee children from around the world.


Best Visual Short Film (Animated)
Nominees: "Day & Night," "The Gruffalo," "Let's Pollute," "The Lost Thing," "Madascar, carnet de voyage (Madascar, a Journey Diary)"
Head-scratcher: "Madascar, carnet de voyage (Madagascar, a Journey Diary)"
Wouldn't it be nice if the Academy took a pass on Pixar this year (for "Day & Night," which I did enjoy) and gave some gold to an artist, Bastien Dubois, who transfixed us with his animated travel scrapbook? I think so.


Best Short Film (Live Action)
Nominees: "The Confession," "The Crush," "God of Love," "Na Wewe," "Wish 143"
No-brainer: "God of Love"
Probably my most cynical pick sine I really disliked writer/director/star Luke Matheny's goofy Woody Allen rip-off. But the competition is weak and Matheny has been quite savvy promoting himself around Hollywood.


There you have it. And please keep in mind I take no responsibility for how my selections harm or help your attempt to win the Oscar pool. 

Enjoy the show!

Oh, Oscar.....

Could it possibly be almost over? --oops.. I mean, almost here? I'm talking about the Oscars of course and, well, I've been sick of them since early November. Not that I haven't enjoyed the stacks of screeners that appeared in Fed Ex packages on my doorstep every afternoon or the....well, that's pretty much all I've enjoyed.

But as someone that actually gets paid to write about movies (a rarity these days), I mustered up some enthusiasm and spouted and speculated along with the rest of 'em, as you'll see in my expanded "No Brainer," "Educated Guess," and "Head-Scratcher" picks from today's paper. (Here's hoping I get my predictions for all of the categories posted before the ceremony starts on Sunday evening!)

It wasn't always this way. In fact, I was obsessed with everything Hollywood all the way into my mid 20s when I actually lived there and became a part of it--albeit a miniscule part that had me making reservations for power lunches instead of actually attending them.

The thrill of celebrity lasted for a year or two but, when I got a job as a junior publicist, I finally discovered that the emperor had no clothes. In my mind, those glossy magazines with movie stars on the cover became nothing but negotiations. All those awards shows were just pageants designed to sell movie tickets and toothpaste during commercials. And everyone was in on it. The magic was gone.

In the dozen or so years since this disillusionment, I've been able to find a middle ground. A place where I can love film, follow industry trends and manage to keep my dignity. But I still have a problem with the whole concept of picking one film as a "winner" over another. How can something as subjective as art "beat" another piece of art in a contest, let alone one with as many arbitrary rules, restrictions and barriers to entry as the Academy Awards? And yes, film is art (or it should aspire to be at least).

As a critic I find the whole thing ridiculous.

As a woman with a borderline disturbing celebrity crush on James Franco, Sunday night is gonna be awesome.

An Appetizer of Oscar Picks

While the bulk of my "big category" Oscar picks will appear in tomorrow's Union-Tribune, AOL City's Best asked me -- along with San Diego City Beat Film Editor Anders Wright and KPBS Film Critic Beth Accomando--for my opinion on Best Picture, Actor, Actress and Original Screenplay winners.

The three of us are nothing if not entirely consistent in our opinions. Could this mean I might actually have a good showing on my Oscar ballot? Well, I couldn't do any worse than last year! (Thankfully those predictions are lost in the ether, but let's just say I was all about "Avatar.")

Here's the City's Best story by Jennifer Kester.

I'll post my expanded U-T picks tomorrow and, hopefully, a comprehensive list of my predictions (guesses?) in all categories before the Sunday ceremonies. Go Franco!

Obligatory Top 10 List -- and more from 2010

"What's your favorite movie?" is probably my least favorite movie-related question. What I love about film is its potential for variety. Does it sound reasonable to judge "Clockwork Orange" against "Mary Poppins?"  I think not, which is why I like to name these two fine films as my favorites if I'm pushed to provide an answer. Just imagining Alex and his droogs in the same room as the sublime Ms. Poppins is enough to make my point.

So when it comes time to offer up my Top 10 Films of 2010 list, I'm immediately resistant. Especially after seeing so many other lists that pretty much echo each other. Alas, I give in to peer pressure and give you the ten films that made the strongest impression on me this year. Plus some movies that defied my expectations (both good and bad) and another batch that just plain pissed me off. Here you go -- and Happy New Year! 

* Links go to my original Union-Tribune reviews. No link means I didn’t review it.

Top 10 Films of 2010  (in no particular order, other than alphabetically)

127 Hours


Yes, I have a soft spot for all things Franco, but his performance as trapped hiker Aron Ralston is truly remarkable. Put that together with Danny Boyle’s energetic and imaginative direction and you get a film that elevates a People Magazine cover story to an exciting bit of filmmaking. 

Black Swan

Despite its tendency towards high-gloss camp, director Darren Aronofsky’s visual stylings and Natalie Portman’s notable performance puts this graceful fever dream of a film in my Top 10.

Blue Valentine


Director Derek Cianfrance takes a sideways look at love by weaving a couple’s painful disintegration together with their first falling in love. It’s a sad but beautiful contrast that owes much to Michelle Williams’ terrific performance opposite a fine Ryan Gosling, who’s ill-fitting accent is the only thing keeping me from heaping praise on him as well.

Carlos


The sheer scope of this 5 ½-hour epic about infamous terrorist Carlos “The Jackal” qualifies it for my Top 10 list. But director Olivier Assayas’ ability to juggle so many subplots, languages, characters, and facts, along with Edgar Ramirez’s remarkable performance as the multi-lingual title character, make “Carlos” a must-see movie marathon.

Exit Through the Gift Shop

We saw a lot of films this year that addressed the line between truth and fiction (“I’m Still Here,” “Catfish,” even “The Social Network”), but this “documentary” by renowned street artist Banksy did it best with an entertaining and thought-provoking film that still has us guessing.

I Am Love


A luscious painting of a film starring Tilda Swinton as the Russian-born, porcelain-skinned subject trapped and isolated in a lavish Italian life. A breathtaking experience, and the British Swinton once again amazes – this time by delivering her lines effortlessly in Russian-accented Italian.

Never Let Me Go


Mark Romanek’s haunting yet restrained film, based on the novel by Kazuo Ishiguro, is a quietly creepy tale of a dystopian future. With Rachel Portman’s unique score setting the tone, actors Carey Mulligan, Andrew Garfield and Keira Knightley expertly guide us through this somber story.

The Social Network


Though it may take some liberties with the truth, director David Fincher’s film about the controversial founding of Facebook captures the geek-driven, wild west landscape that led to the world dumping their personal lives online –at the command of the socially inept Mark Zuckerberg. Definitely worth two viewings: one to soak up Aaron Sorkin’s snappy script, and the next to appreciate Fincher’s tight storytelling.

Toy Story 3

It took 15 years for Pixar to reach the final chapter for Woody, Buzz and the gang, and this funny, nostalgic and even scary sendoff is just about perfect. I still come to tears just thinking about it. 

Winter’s Bone


Writer/director Debra Granik takes us into the remote Ozark Mountains where chronic poverty and rampant drug use have led to both lawlessness and hopelessness. As the brave teenager who ventures inside this dangerous world to save her family’s home, young Jennifer Lawrence delivers a career-making performance. 

Honorable Mentions

A Film Unfinished 


An important lesson about historical interpretation, this documentary shows how the Nazis staged filmed scenes of Jews in the Warsaw Ghetto in a bold (and mostly successful) attempt to hide their atrocities. A history lesson for everyone.

The Kids Are All Right


Terrific performances by all involved, and a wonderfully fresh take on ‘family’ in the modern era.

Nowhere Boy 


No surprise that 40-something director Sam Taylor-Wood ended up married to her 19 year-old star Aaron Johnson, who’s charming portrayal of a young John Lennon will steal your heart as well. Terrific performances also by Anne-Marie Duff and Kristin Scott Thomas.

The Tillman Story 


An eye-opening and heartbreaking documentary that follows the family of former NFL star Pat Tillman on their unflinching quest to find out the truth behind his wartime death.

Unfortunate Omissions

There are only so many hours in a year and, sadly, I missed seeing these two films before time ran out. From what I've read and heard, I suspect they would've made my list.

Another Year – Director Mike Leigh’s latest ensemble film

Inside Job – Charles Ferguson’s documentary about the shenanigans behind the Wall Street collapse.

Biggest Surprises (Good and Bad)


The Crazies 


Horror kitsch and gratuitous gore interest me very little, so I assumed this zombie-style film would be total schlock. So imagine my surprise when I found myself covering my eyes, leaning forward in suspense, and having a hell of a good time – and I went to the screening by myself. That’s saying something.

Jonah Hill in Cyrus 


I expected to like this predominantly improvised film, despite the fact that it starred one of my least favorite actors, Jonah Hill. Well, the presence of his talented costars John C. Reilly and Marisa Tomei must’ve had him on his best behavior – and he comes out the better for it. He is off my shit list….for now.

Inception 


I admit it. I was carried away by the idea of Inception and the excitement around it. Upon first viewing, the film was a mind-tripping visual spectacle and worth the watch. But what surprised me was how quickly it faded from memory – kind of  like a dream that feels vividly real upon waking, but is gone by breakfast.

Kick-Ass 


Comic book movies are not my thing (hence my disinterest in Comicon). But Chloe Moretz as Hit Girl won me over. A blast of a movie -- controversy over its ultra violence and little-girl bad language be damned.

The Millenium Triology on Film (and in Swedish)

Not having read the Stieg Larsson books, the first film from the series, The Girl with the Dragon Tattoo, blew me away (particularly Noomi Rapace’s performance as Lisbeth, which damn well better earn her an Oscar nomination). But the two films that followed, The Girl Who Played with Fire and The Girl Who Kicked the Hornet’s Nest, were an exercise in disappointment.

Salt

I’m not someone who favors Angelina Jolie (I’m putting it very politely here) and action movies fall very far down on my list of preferred genres. Despite these substantial strikes against it, I was thrilled by Jolie’s stunts and happy to a happen upon an example of a Hollywood action-thriller done right.

Unstoppable 


When I first saw the preview, I laughed in the most derisive way possible. Instead of proving me right, this runaway train tale got my adrenaline pumping and had me thoroughly entertained.

Money Better Spent on Rebuilding Haiti

Last and least, here’s a quick list of movies that felt like a waste of my time and, more importantly, a lot of money that could have been put to much better use elsewhere in the world. If you must know more, read my linked reviews and spare yourself actually having to see the films for yourself.

A-Team

Eat, Pray, Love

From Paris with Love

Get Him to the Greek

Greenberg

Grown Ups

I’m Still Here

Sex and the City 2

Somewhere

Valentine's Day

When In Rome

Reviews: "The King's Speech" & "Tron: Legacy"

This week I reviewed "The King's Speech" and "Tron: Legacy," two films that have one thing in common--neither took top honors in the San Diego Film Critics Society's (SDFCS) 2010 awards, (though "King's Speech" was nominated for several). This was my first year as an SDFCS member and, despite some of the grumbling you'd expect from a roomful of opinionated critics, it was exciting to be a part of a group so willing to consider films outside the normal Hollywood Oscar bait (like "Winter's Bone," "Another Year," "44 Inch Chest" and "Ondine"). Let's just hope that someone out there in Academy-land hears our cries. Doubtful I know, but we did our part.

Colin Firth as King George VI and Helena Bonham Carter as the Queen Mother  

in "The King's Speech" (Laurie Sparham/ The Weinstein Company)

Not that I disliked "The  King's Speech," as you'll see in my review. It was just, well, expected. Enjoyable, yes, but not anything that had me walking out of the theater feeling electrified by brilliant filmmaking. As my mother described it, "It was a really, really good television movie." Still, wonderful performances, a compelling true story, and a good dose of royal gossip.

Jeff Bridges is shown in  "Tron: Legacy"  (AP Photo/Disney)

Then there's "Tron: Legacy," which was certainly discussed during SDFCS's voting, but only because the press screening took place the night before and people needed to vent about the film's assault on everything that is holy in sci-fi movie geekdom. I kept my mouth shut because, well, I didn't entirely hate it.

Granted, I had the lowest of expectations, especially after seeing the original "Tron" only a few days earlier (and falling asleep halfway through after spending the first half mocking its ridiculous story, costumes, dialogue and acting). So when I found myself generally wowed by the effects of its sequel, I went along for the ride and took it for what it was.

Yes, even the recreation of a young Jeff Bridges impressed me, though many are describing it as a "Madame Tussaud's-like death mask." I've still never seen anything like it and am excited to see how much better it'll get down the road. I mean, "Tron" looked cheezy as hell, but it still helped redirect our cinematic imagination.

Still, it would have been nice if the filmmakers had actually tried to improve upon the story--or even, gasp, reinvent it. Instead, they took the easy way out by trying to lure the Gen X audience with nostalgia, while attempting to appeal to a new generation of numbskull kids with visual spectacle and a hell of a lot of marketing. And, as we know, trying to appeal to everyone rarely gets you somewhere good (hear that Obama?).

Oh, and I got so distracted by placing "Tron: Legacy" in the context of its predecessor, that I stupidly neglected to include the following observations in my review. Michael Sheen, an actor I really admire, delivers a Tim Curry/Rock Horror-esque performance that is simply painful to watch. Perhaps he was directed to inject as much energy and silliness as he could muster to give an overly dreary film at least some sort of energy, but he just comes off as desperate and pandering.

On the other hand, Jeff Bridges (the 62-year old version) does give us a few giggles every time he channels the beloved Dude (because, well, The Dude abides). But each Dude-ish moment just pulls you out of the world that "Legacy" tries so hard to create. Let's just have the Coen brothers do a Lebowski remake instead, shall we?

Next Friday I review "True Grit" and profile the first ever San Diego Christian Film Festival (what else would a nice Jewish girl be working on during the Christmas season?)

Speaking of, Happy Holidays!