Freakpit Oscar Diary 2009

My coverage of the Dublin and Glasgow film festivals will continue shortly. In the meantime, it's time for an interlude for the annual Oscars event. Not much pre-event coverage from me this year, but I couldn't resist another summary of the awards ceremony as it happens. Or as it happens here in the Freakpit at least.

23:30 An hour and a half before the show even begins and I'm already wondering why I bother watching Sky's tabloid-style coverage. And they've not even got round to plastering Claudia bloody Winkleman across my TV yet. Just Fern Cotton and her mad devil eyes.

00:58 I don't believe it. The UK coverage is going to be Claudia Winkleman AND Gok Wan? WTF. That's where my money is going? Here's an idea for you Sky, if you're going to throw your cash around and steal the Oscar coverage away from free channels, at least spend your money on some decent presenters and guests. And you know what else? I really, really don't give a shite who made the bloody dresses.

01:53 Cheesy yes, but Jackman's opening routine was pretty enjoyable. Penelope Cruz gets the first award speech out the way and already we've ticked off the "art is important" and "I'm just a kid from a little town called..." cliches ticked off the list. She didn't cry though.

02:12 First few awards out the way, no really big upsets. Apart from how upset I am. So far it's £15 down for a return of 32p. Not looking good.

02:29 Okay, this will be far and away my worst ever gambling performance at the Oscars. I am now onto the comfort eating already, so it's one Mars muffin and a bottle of Red Kola while I try to figure out who the hell those presenters were. (Apparently someone from TWILIGHT and someone from MAMMA MIA)

02:49 That's a double snub now then for my celtic cousins with both IN BRUGES and NEW BOY missing out in their categories. More importantly, I'm losing a serious amount of money.

03:37 Okay, there are still no real upsets on the cards at all. Fair enough, I was happy for Heath Ledger's win and that MAN ON WIRE got the documentary award... but it's really not doing me any favours on the gambling front.

04:03 Wow, that guy that did the music for SLUMDOG MILLIONAIRE really knows how to disappear off the stage quickly. Bemused looks all round. As for the UK TV coverage... as if Winkleman wasn't bad enough, it appears Stephanie Beacham is auditioning for a role as the world's most miserable bag. Someone needs to slap her until she cheers up, or get someone else into the studio who might look like they want to be there.

04:58 Well in the end there were barely any upsets at all. The only one that I really got was Penn winning over Rourke but that wasn't really enough to stop me making a monumental loss on the gambling front. Thankfully MAN ON WIRE winning at the BAFTAs a few weeks ago means I'm still overall in profit on the awards ceremonies this year. As for the Oscars, I'm a bit disappointed - I like Danny Boyle so happy to see him win there, but SLUMDOG MILLIONAIRE simply wasn't the masterpiece it has been painted as and in that respect I found this year really disappointing.

05:00 As tempting as it is to stay and watch another half hour of post-ceremony chat between Winkleman and someone from the News of the World (he said sarcastically), I'm off to bed. It's five in the morning.

Best of 2008 (40-36)

40 32A
Charming coming-of-age tale set in 1970s Dublin. Clearly a film for young girls, but what the hell, I liked it. Nominated for an IFTA Best Film award too, though I don't see it winning.

39 JUST ANOTHER LOVE STORY
Certainly not "just" another anything. I don't suppose that modern Danish film noir is a gigantic genre, but I bet this is still one of the best entries all the same. Terrific thriller.

38 CHANGELING
For all my complaints about Jolie's overacting, Eastwood's study of the dark side of LA's modern history is still a great film.

37 WALTZ WITH BASHIR
Bold, daring and timely animated movie from Israel that should get an Oscar nomination, even though Pixar own the actual awards. It has made the foreign language shortlist though, so watch out there. [UPDATE: I wrote this a few days ago, and the nominations have since come out - no animated nomination, which is a shock, but it is nominated for in the foreign language category]

36 DIARY OF THE DEAD
Like the previous entry, some people thought George Romero's latest zombie movie was an anticlimax and hated it. I thought it had its flaws but was still immensely enjoyable and felt that the back-to-basics approach really paid off.

Current release: THE WRESTLER

Mickey Rourke has been gathering plaudits left, right and centre for his performance in Darren Aronofsky's latest. It's true that it's a wonderful performance though one can't help but wonder exactly how much of it, given Rourke's past, is actually acting and how much is therapy.

Rourke is Randy "The Ram" Robinson, a washed up wrestler who was once the greatest in the ring and now, twenty years later, fights for small change in town hall arenas. When a heart attack almost kills him he is forced to reassess his life - his failing health, his rocky relationship with his estranged daughter (Evan Rachel Wood), his clumsy attempts to court a local stripper (Marisa Tomei). But despite the threat of imminent death, it seems the ring may not be ready to let him go.

The notion of the faded star trying to recapture former glories is nothing new and to be honest there is very little new about Aronofky's film at all. What lends it added gravitas is the fact that Rourke can so clearly be identified with the character.

While Rourke is the centre of attention, it seems only fair to credit Tomei as well. Her supporting role is another tried and tested archetype (poor single mum doing questionable things for the good of her kids, but she's nice really). However not only does she look stunning (a victory for whoever chose to cast her ahead of whatever beautiful 20-something Hollywood nobody the studio probably would have preferred) she invests what little screen time she has with enough warmth and emotion to carry the film. I like Evan Rachel Wood too (sooner or later she's got to get a part that isn't the troubled teenager) but confess that here her part was a bit too small for the performance she gave, with her limited scenes nearly always having to have some kind of Big Emotional Moment.

It's a new direction for Aronofky. I kind of enjoyed the barmy PI, though not to the extent many others did; I thought REQUIEM FOR A DREAM was brilliant; and I think THE FOUNTAIN is one of the best films that nobody saw. Here however Aronofsky jettisons that flair and style for a more intimate, documentary style look. There are no flashy visual tricks, just lots of prowling over-the-shoulder camera movements; gone are the driving scores that so characterised REQUIEM FOR A DREAM and THE FOUNTAIN, in comes a subtle, barely noticeable guitar.

Unfortunately, I really liked Aronofsky's earlier style. I know it wouldn't have worked on this material, but it's what I wanted to see. Many will praise it for being his least show-offy film but for once I'm going to have to admit disappointment that it wasn't. It's not really what I wanted to see and that, coupled with the familiar ground covered by the story made it feel like a let down.

It's a good enough film with a powerful, emotional ending and is worth two hours of your time - but in the long term I can't help feeling that it'll be remembered for Rourke's performance and little else.

Current release: SLUMDOG MILLIONAIRE

So I finally get to see SLUMDOG MILLIONAIRE, the forerunner for the big Oscars, having already scooped some major awards, not least the Golden Globes for best film, director and screenplay.

I like Danny Boyle. I can't say I like everything he's done - THE BEACH was a stinker - but in TRAINSPOTTING he created one of the most famous (and critically acclaimed) Scottish films; in 28 DAYS LATER he totally revitalised the zombie genre (yeah, they weren't technically zombies... whatever); SUNSHINE was a sci-fi flick whose lack of originality was all but forgotten about under the sheer thrill of it all; and MILLIONS is one of the best feel-good family flicks in many a year.

And those films sum up another reason why I like him - the guy just likes to try his hand at everything.

This time it's the story of a young lad from the Mumbai slums who somehow manages to get all the way to the end of the Indian version of WHO WANTS TO BE A MILLIONAIRE?, only to be accused of cheating and getting a nasty run in with the law. Flashbacks reveal his life story and how he really knows all the answers...

I'm not the first person to say this and I won't be the last, but leave all thoughts of reality at the door. The film hinges on such ludicrous coincidences that unless you buy into it completely you'll spend the rest of the film waiting for it to end.

The good news is that suspension of disbelief is easily done once the film gets going. An intriguing premise, a great young cast and pacing that moves the film along at a fair old clip does the job.

On top of that, the photography is stunning. You can almost feel the searing heat radiate throughout the cinema, whether it's in the filth of the Mumbai slums or the towering majesty of the Taj Mahal.

Unfortunately it's a victim of its own hype, or at least was for me. With the other Boyle films mentioned above, I knew little of them going in, so the surprise was all the more pleasant. SLUMDOG MILLIONAIRE on the other hand comes into cinemas on a wave of awards season hype which, in my humble opinion, it never quite lives up to.

It is a joy, it is an excellent film and it probably deserves to win awards too. By all means stick this on your must-see list... but I still prefer MILLIONS.

Current release: THE READER

THE READER, as you're probably aware, has just bagged Kate Winslet a Golden Globe award and seems certain not to be her last award for the role (I'm even tagging this post with the Oscars label, just in case). It's deserved as well, for she is terrific in the film.

The film itself is far from being a masterpiece however.

The story revolves around a German lawyer (Ralph Fiennes) and flashbacks to his youth (played by David Kross) when he had a brief and passionate affair with an older woman (Winslet). As if the affair ending abruptly wasn't heartbreaking enough for him, the film takes a nasty turn halfway through which puts a whole new spin on Winslet's character.

When I criticised CHANGELING recently it was because an otherwise terrific film was being overshadowed by the lead actress putting on a performance that seemed engineered for awards season. THE READER has the opposite problem, with Winslet putting in a fantastic performance (every bit as emotional as Jolie's in CHANGELING, but far more measured and restrained) only to see her work (and that of a very good Fiennes) being overshadowed by a film that feels crafted for awards season.

In their rush to tick all the right "worthy" boxes (flashbacks, doomed romance, the holocaust) the filmmakers have unfortunately lost sight of some of the more important factors, such as when to actually finish their story.

We end up with another of those films where it just keeps ending...but not really. RETURN OF THE KING was another example which received the same criticisms, while I'd level the same accusation at the awful THE KILLING OF JOHN LENNON. Here, THE READER just seems to reach a natural conclusion... and then keep going. And then reaches another natural conclusion... and then keeps going. And so on.

So here's my handy guide to how to best enjoy the reader:

• If you want the full, earnest, awards-baiting experience, watch until the end.
• If you want a Hollywood-style feel-good movie, leaving half an hour before the end will do the job.
• If you just want to see an astonishing amount of Winslet and Kross being naked, the first hour will probably be more than enough.

A Boston double bill

For some reason, my local cinema programmed a Dennis Lehane Boston-isn't-safe-for-kids double bill recently. I'm not sure what the reason for this was, if any, but I'm not complaining as I'd never seen either of them.

So first of all I finally got round to seeing Ben Affleck's directorial debut (after its unfortunate UK shelving / blink-and-miss release), one of the few big Oscar films of this year's ceremony that I hadn't seen. Colour me impressed.

With this kidnap-mystery thriller and that Jesse James thing under young Casey's belt, there's no doubt anymore about which of the Affleck boys is the actor; but that said, it certainly goes some way to proving that Ben may have a shot at better reviews behind the camera than in front. It certainly feels like an authentic Boston film, but any locals from the area will need to confirm since I've never been. I did see GOOD WILL HUNTING though. It's refreshingly unshowy, given that so many debut directors very often try to be a bit too clever, pulling off all sorts of camera gymnastics and dodgy effects.

He also got the best out of most of the cast too, which is far more important. It's a film that doesn't exactly boil over with action, so you really need a good cast of characters to keep things ticking along. While I'm sure Lehane deserves the credit for the characters' creation, there's no doubt that an incredibly good cast really brought them to life.

I've never read the novel so I don't know how faithful the film is. The only flaw seemed to be that there were a lot of characters who were in there because they ultimately had some integral part of the plot hang on them, but were given far too little to do for the rest of the film (Michelle Monaghan springs to mind). That's a shame, as many of the actors involved really deserved better.

It's a cracking film though and the story's twists and turns certainly take the film into unexpected territory towards the end too. If you're one of the countless people who missed out on account of the UK distribution problems then take the opportunity to see it as soon as you can.

The second part of the double bill provided another Boston-set kiddie-threatening Oscar-troubling acting showcase, in the form of Clint Eastwood's adaptation of MYSTIC RIVER.

Like Affleck's debut above, Eastwood is an assured director who shows just enough flair without being flashy and again gets terrific performances from a superb cast. Sean Penn can certainly be accused of having a few too many actorly moments and Robbins doesn't totally convince, but apart from that the cast is terrific. The story (three childhood friends are reunited by the death of one of their children) is powerful, gripping and (again like the Affleck film above) springs plenty of surprises. In the end though, it's let down by going on five or ten minutes after it has reached a logical conclusion, the worst offender being a ridiculously neat and tidy wrap-up of a Kevin Bacon subplot that was needless to begin with. I think we can let Eastwood off with that though, since he does a fine job in every other area (including the understated music as always).

Freakpit Oscar Diary 2008 - the end

And we're in the home stretch. Here's how the rest of the night/morning unfolds...

04:24 Harrison Ford seems a little... out of it, or something. Anyway, no surprise to see him hand the original screenplay award to Diablo Cody, who looks ridiculous, but wrote a pretty decent screenplay.

04:33 Best Actor goes to Daniel Day-Lewis. No surprise, and totally deserved.

04:42 If Best Director goes to anyone except the Coens, I'm wiped out.

04:43 Phew. I still think it'll be a hefty loss overall though. I'm pretty sure this is the first time the director award has gone to two people. For whatever it's worth.

04:45 Best Film is...

04:46 NO COUNTRY FOR OLD MEN. It's a good film, but I wouldn't have picked it. Thankfully I had money on that one too though, so now I should only be facing a fair sized loss rather than a huge one. I really should stop betting on this stuff.

04:51 It's all over. I made a loss of £19.82 which, once again, is squarely down to the Julie Christie thing. Just like the bloody BAFTAs. End total? Loss of £4.94.

04:53 I'm away to bed. I'm going to work tomorrow. Good night.

Freakpit Oscar Diary 2008 Part 3

It's now 02:42 and Winkleman has just suggested that the BAFTAs have a sway over the Oscars. I think not. On with the show.

02:44 Jessica Alba is doing a summary of the boring Oscars, i.e. the technical achievements that get an evening of their own. I love that the Oscars for techy geeks are always presented by a stunning Hollywood starlet.

02:48 Best adapted screenplay goes to... the Coen brothers. Not much of a surprise there. I still lose money though.

02:54 The next nominated song. Another one from ENCHANTED. They seem to have put a lot more effort into the presentation of this one than the previous one though. It's not Amy Adams though.

02:59 Oh Winkleman, shut up. And stop flopping your head about like that. It's like it's going to fall off. Actually, can you keep doing it, just in case.

03:03 Sound editing goes to THE BOURNE ULTIMATUM, and my betting is beginning to go pear-shaped. Sound mixing goes the same way, and I continue leaking money. What's the difference between these categories anyway? I've no idea. Just like my betting.

03:11 Best Actress. If this doesn't go to Julie Christie, I'll... BOLLOCKS! Marion Cotillard robs Julie Christie again. Not only has my favourite actress been robbed, so have I. This result pretty much guarantees I'll not be making a profit at the Oscars this year. Just like it did at the BAFTAs. There's a lesson in there for you all. Or for me at least.

03:19 Here come Glen Hansard and Marketa Irglova. Yes. This. Best film of last year. Their live performance seems a bit nervy to be honest to be honest but it's still a great song and had better win. If this loses in the same ceremony as Julie Christie has I might put out a contract on every member of the academy. And their families.

03:23 Jack Nicholson appears to be looking more and more evil witheach passing year.

03:27 They just did a nice montage of all 79 previous winners of the Best Film. The pathetic part? I've seen precisely 13 of them. 13 out of 79. Is it any wonder I keep losing money here?

03:29 Best Film Editing goes to THE BOURNE ULTIMATUM. I really am not doing very well.

03:31 Nicole Kidman looks like a Christmas tree that has just been decorated by an excited child. Honorary Oscar goes to Robert Boyle. Deserved.

03:43 Best foreign film is... THE COUNTERFEITERS. Fair enough, it's a good film, and it wins me a little money back.

03:45 It's the final nominated song, from ENCHANTED, and it's the sort of boring, soulless dirge that make everyone hate this part of the show. Are songs in films really so bad that we have to keep nominating dross like this every bloody year?

03:46 This is how bad it is watching the Oscars live in the UK - I've just heard the milk being delivered. The good news is that it looks like I might make it through the whole show on just one cup of coffee. It probably helps that I drank loads of it during my last day at the Glasgow Film Festival today. Ah good, that awful song is finished.

03:49 John Travolta becomes the latest person to slip in front of the podium (following Colin Farrell before the song from ONCE) - why has nobody wiped done something?

03:50 YES! YES! YES! ONCE wins best song. The audience seem to like it almost as much as I do. It's a great moment for Hansard and Irglova, and for the film too. Everyone seems genuinely pleased. I come up with some nonsense about Travolta slipping being an omen, just because Farrell did when he introduced the same song earlier.

03:56 Robin Ince (the comedian on the UK coverage) has just had a great rant about the quality of the award intros. He's funny, and he's right.

03:57 Marketa Irglova has just been invited back on since she got cut off earlier. It's great, but it's also quite ironic given what Robin Ince has just ranted about.

03:59 Okay, I'm going to say it. I just don't think Cameron Diaz is quite as beautiful as everyone keeps saying she is. There, I've said it. Anyway, she presents the cinematography award to... THERE WILL BE BLOOD. Fair enough, it was lovely. It's a bit hard on Roger Deakins though, who misses out despite being nominated twice. I'd like to have seen him win for JESSE JAMES but what can you do.

04:05 The in memoriam slot is touching as always, but sadly Bob Clark's didn't feature BLACK CHRISTMAS (yeah, so it's just me) and I think Freddie Francis could have been credited as both cinematographer and director rather than just the former.

04:07 I've only just realised that I had money on THERE WILL BE BLOOD for cinematography. Hurrah!

04:10 Amy Adams again. Even better, she's presenting the score award to ANTONEMENT, which I had in my betting. Hurrah.

04:12 The best documentary short is being presented via satellite by some troops in Iraq. Quite ironic given how many documentary films are being made these days against the war.

04:18 Best documentary goes to TAXI TO THE DARK SIDE. Never seen it. I lose another bunch of money.

To be concluded...

Freakpit Oscar Diary 2008 Part 2

01:05 - Claudia Winkleman not only really annoys me but also appears to be bright orange. Apparently this is being broadcast in HD too, so it can't be pretty. The UK coverage is kicking off with not only this annoying woman, but studio guests including a critic (makes sense), a comedian (hmmm), and a bloody fashion journalist. Really, who gives a toss about the bloody dresses. In fact, in the time it's taken for me to type this, I've already considered smashing my TV as a result of the inane chat about make-up, handbags and dresses, as if somehow the studio guests are oil paintings themselves. Which they're not.

01:23 Just finished a piece of cheesecake. It was strawberry flavour. They've just had a summary of the British hopefuls and the first person they interviewed was Saoirse Ronan again. Have I got it wrong then? I wouldn't have said she was British. I'd still like to see her win though, as I go with whoever I feel deserves it rather than whoever is British.

01:31 Opening titles look a bit cheap, but I like seeing Spartacus fighting Darth Vader.

01:37 Jon Stewart is being pretty funny - seems like all the jokes that aren't going over that well are the ones that I find funniest though. Nice dig at NORBIT.

01:41 I'm crying. "Gaydolf Titler". Now that's funny.

01:44 Costume design goes to ELIZABETH: THE GOLDEN AGE. I'm off to a winning start, netting a £1.42 profit straight off. Yay! Good acceptance speech too.

01:54 The fact that Steve Carrell just used the S-word makes up for me losing money on the animated category. Yeah, I know, RATATOUILLE was always going to win but that's the crazy kind of guy I am.

01:56 YAY! A reference to PLANET OF THE APES (perhaps) in the make-up intro. I have no idea who this woman presenting the award is though. Hurrah, LA VIE EN ROSE wins. I've not seen it, but I bet on that one.

02:01 Amy Adams is performing the first of the nominated songs. She's great. I still want ONCE to win though.

02:08 Even presenting an Oscar, The Rock is totally wooden. GOLDEN COMPASS wins special effects Oscar. My money was on TRANSFORMERS, so I win nothing.

02:12 Art Direction goes to SWEENEY TODD. More money goes to my betting account. Hurrah.

02:17 Supporting actor goes to Javier Bardem. No surprise.

02:24 Jon Stewart is still very funny. We're about to get the second nominated song, from AUGUST RUSH. I didn't go and see that one, because the trailer made it look terrible. The first few bars of the song, and it sounds like the music is pretty crap too. God, it's not getting any better. Is that kid singing through her nose? Argh, this is terrible. Please, make it stop.

02:30 LE MOZART DES PICKPOCKETS wins best short film. I bet on that one too, based solely on the fact that it had an Oscar-worthy title. From the clips they just showed, I quite liked the look of THE TONTO WOMAN though.

02:32 Unbelievable. PETER AND THE WOLF wins best short animated film and I bet on that one too. Another lucky guess in a category I know nothing about. And hey, it's British.

02:35 The most open of the big awards. Best supporting actress goes to... Tilda Swinton. I didn't see that coming. Profit has just taken a serious dent. Wow, she just made a reference to BATMAN AND ROBIN, the worst film ever made.

To be continued...

Freakpit Oscar Diary 2008

Okay, here's my breakdown of my Oscar night/morning (damn you, international time difference). I apologise in advance if any of this is spelled incorrectly or doesn't make sense. For one thing, I'm typing on a laptop that I'm not used to using; the other problem is that the Oscars telecast is on at the same time and I struggle to concentrate on typing while listening to people talking at the same time. That's why some of the following might not make any sense watermelon hatstand Sinatra moon monkey.

23:58 - It appears that the pre-ceremony build-up on UK TV started almost an hour ago. Still another hour of Kate Thornton fawning over famous people and their dresses to go.

00:06 - They're going on about British stuff as usual. This time there's a twist though - we actually have a chance of winning something. Go ATONEMENT.

00:07 - Kate Thornton has just got Saoirse Ronan's nationality wrong and mispronounced her name, then got her age wrong. They've just started again - don't they know it's live? Miss Ronan has just said hello to everyone in Dublin. Damn it, 26 hours too late for that to include me.

00:20 - Ruby Dee's in her eighties apparently News to me. She's aged well.

00:22 - James McEvoy is at the Oscars, and he's already mentioned football and THE GOONIES. What a guy.

00:24 - Amy Adams is getting interviewed. She's no Julie Christie, but I'm definitely an admirer.

00:46 - There's something unintentionally funny about the question "Are you presenting tonight?" - it makes me think of pandas mating.

00:47 - Julie Christie. She's still got it.

00:53 - Balls. Claudia bloody Winkleman's doing the British TV coverage again. She's like sandpaper to the senses.

To be continued...

Final pre-Oscar post....

I still need to finish writing up the rest of the films I saw in Dublin and Glasgow but I guess that will have to wait because it's Oscar time.

Before I disappear and drink lots of coffee, I'd better quickly dish out some predictions. No time for writing opinions I'm afraid, but before I make the predictions I will just say these three things:

1) THERE WILL BE BLOOD is brilliant. Numerous nominations, but the dead-cert is Daniel Day-Lewis for Best Actor, which he deserves - he's brilliant in a brilliant film. The best actor today, at the top of his game.

2) LARS AND THE REAL GIRL - I'll talk more about this in my festival write-ups, but it's another great film and fully deserves its nomination for original screenplay. Don't know that it'll beat JUNO though.

3) Awards gambling: I lost 25p on the Razzies. Yes, that's right, 25p. I'm still in profit (£14.88) though. Will the Oscars boost that or bankrupt me? Find out soon!

Anyway, the predictions. Note that this is what I predict, not necessarily what I want.

Actor will be Day-Lewis, actress will be Julie Christie. Supporting wins will go to Bardem and oooh, I don't know, Cate Blanchett. That last one's really hard to predict.

Best film and best direction will both go the Coen Brothers, but the adapted screenplay will go to ATONEMENT. Original screenplay will belong to JUNO.

Animated movie will be RATATOUILLE, documentary will be NO END IN SIGHT. Even though I've not even seen it and don't really know anything about it. In fact I don't even know what made me pick this one. Similarly for foreign language, I'll go with KATYN, which I've not yet seen.

Best song had better go to ONCE, but will probably end up with ENCHANTED.

Beyond that, I can't be bothered writing anymore, and I've not even spellchecked any of the above so apologies if it's all pish. I'm off for my first strong coffee. I've got bets in every category though so if I do really badly (predictions above aren't necessarily what I've bet) I'm sure you'll hear all about it.

As with last year, I'll be sure to post an Oscar diary. But for now, bye.

Awards again: thanks, IFTA

So the Golden Globes put me £2.79 up, then the BAFTAs took me back down to £1.72 in the red. I know, I'm playing with big money here.

Well my awards season gambling frenzy took another turn for the better last night thanks to those lovely folks at the IFTA awards. That's like BAFTA, but Irish. See if you can work out what the acronym stands for.

Anyway, thanks to young Saoirse Ronan (that lass from ATONEMENT) picking up a rising star award and the excellent GARAGE picking up a couple of awards, I'm now back in profit again. The betting pot currently stands at £15.13 in the black. Hurrah. Next up, the Razzies.

Irish film GARAGE is released in the UK next month, and if you don't go and see it then you're an idiot and you should be banned from watching films ever again. Okay, that's a bit harsh, but you really should check it out all the same.

JUNO and my gambling habit

Still struggling to find time, so here's another very brief award season update.

I saw JUNO. I'm trying really hard not to use the now-cliched "this year's LITTLE MISS SUNSHINE" but it's really difficult. You know the story by now - small indie film, quite funny, quirky characters who behave in odd ways and talk to each other in nutty non-sequitors, while the soundtrack is peppered with equally quirky indie music. I don't know if that genre's got a name yet, but it still seems to be going strong.

Not that I'm trying to take anything away from the movie. It's very enjoyable and very funny. The cast are all terrific, whether it be Jennifer Garner in the film's only real serious role or Ellen Page as the titular character (a geeky teenage girl who accidentally becomes pregnant). Page has been garnering plenty of nominations and awards for her performance and is still a serious contender come Oscar night.

Regardless of whether it wins or not (and original screenplay still seems the most likely category if any) I do recommend you seek this one out.

That's the only other award contender I've seen since the last update, but there are still a couple more on the horizon so check back soon.

In the meantime, I'll keep you updated on my ill-advised movie awards season gambling habit. The BAFTAs have taken place and there have been a multitude of upsets. I backed ATONEMENT to win best film (well come on, what does the B in BAFTA stand for?) and managed to back a couple of surprises in the Rising Star (Shia LeBoeuf) and British Film (THIS IS ENGLAND) categories but other than these and a few minor wins, I did hopelessly, landing myself with a loss of £4.51. Those of you keeping track will know that currently puts me at a total loss of £1.72. Roll on the next awards ceremony!

The Oscar talk continues...

Yes, I know, I promised my complete predictions for the Oscars, but I'm still catching up on all the films first. I'm still pushed for time but hopefully I'll get round to it sometime soon, since I'll be going to a couple of film festivals that will eat up at least a week leading up to the awards. (Glasgow and Dublin in case you're interested - and if you're not, you've probably not even made it as far as this sentence.)

First of all, the one that didn't get nominated. I mentioned that there has been an outcry because of the failure to nominate 4 MONTHS, 3 WEEKS AND 2 DAYS in the foreign language category, particularly ironic since they appear to have a real thing for Eastern European cinema.

While I still wouldn't have picked it for my number one choice, I have now seen it and do agree that it should have at least scored a nomination. It's every bit as cheerful as you would expect a film about backstreet abortions in Ceausescu's Romania to be (specifically, not at all) but is strongly acted, beautifully shot and will haunt you long after you leave. Not necessarily your cup of tea if you don't like slow, ponderous films mind you but it's still more likely to please you than SILENT LIGHT.

THE SAVAGES. This is nominated for two Oscars - best original screenplay and best actress. It won't win either. I thought it was an okay film, though far from worthy of the praise that has been heaped upon it, but there are plenty of better films than this gracing the Kodak Theater this year. It won't win the original screenplay, because that'll probably be reserved for JUNO - I've not seen JUNO yet, but it's the kind of film that wins the screenplay award - and it won't win for best actress. Laura Linney's performance is very good, but if it beats Julie Christie's, then I'll track down Laura Linney and throw things at her. I should at least mention Philip Seymour Hoffman's performance as it's very good too, though not as entertaining as his turn in the otherwise crap CHARLIE WILSON'S WAR.

Finally for today, SWEENEY TODD: DEMON BARBER OF FLEET STREET has notched up three nominations. It won't win Depp his actor Oscar, because it appears that Daniel Day-Lewis is a stick-on for that one; it has a chance in the costume design category certainly; and it would be a very worthy winner in the art direction category - it looks amazing. Unfortunately there's more to a movie than just looks. It looks good and there are some fine performances - but sadly some pretty bad ones too - but it suffers from an uneven tone and, more importantly for a musical, crap music. I don't know how much of this lies at the door of the original stage version and how much is down to Tim Burton (who I am still struggling to forgive for his PLANET OF THE APES remake - but you probably remember that rant). At the end of the day, it doesn't matter. A musical with songs that are totally unmemorable isn't much of a musical.

Back soon, probably with more Oscar chat. Or who knows, maybe I'll get back to writing about other films at some point.

Another Oscar quickie...

Sorry, still hectic here at the Freakpit (or rather between Freakpits at the moment, hence the sporadic presence).

Just time to add a few more opinions on some Oscar stuff. I'd intended to actually get this out before the nominations were announced but, as you can see, I failed, so some of these films might still be favourites and some of them might have dropped out the running altogether. That's what I get for being so late I suppose.

First of all, CHARLIE WILSON'S WAR. I didn't like it. It's part comedy, part political movie and that's where it goes wrong straight away. On the one hand the movie wants to hammer home political points and emphasise how bad things were in Afghanistan during the Russian invasion; on the other hand it tries to be really funny in the next scene. And so it keeps jumping back and forth, unable to stick to either and ruining the tone of the movie. Also, Tom Hanks is pretty much Tom Hanks while Julia Roberts continues to annoy me with her very presence in a movie.

On the plus side, Philip Seymour Hoffman is brilliant and very funny, while Amy Adams has very little to do but still remains as effortlessly watchable as ever.

INTO THE WILD hasn't achieved nearly as many nominations as expected, which is disappointing. Sean Penn's directorial effort is a little too flashy in places (he really does use every trick he can think of) but full of heart and totally captivating. Its lack of success here means it's unlikely to be re-released again, so when it comes out on DVD do check it out.

NO COUNTRY FOR OLD MEN has been heralded as a triumphant return for the Coen brothers and is one of the favourites for the big awards. Personally I thought it was very good but that's all - I don't class it among the best of the year. Then again, I can't really think of anything to complain about so maybe I'm being too hard. It'll certainly pick up a few awards anyway. Worth checking out.

Some other random observations to close with:

As I expected, KINGS has not made the foreign film list but THE COUNTERFEITERS has, the only one I've seen so far. Surprising omission is 4 MONTHS, 3 WEEKS AND 2 DAYS, which is nowhere to be seen. I'm going to see that one tomorrow night anyway.

As predicted in one of my previous Oscars 2008 posts, ONCE has managed a solitary nomination in the song category, and as predicted it's Falling Slowly. Hurrah!

Sadly the second best film of 2007 (PLEASE VOTE FOR ME) - and yes, I will publish a list of my favourite films of the year some time before the end of 2008 - did not make the cut in the documentary category. However, SICKO (very good) did, and my prediction that WAR/DANCE would be there came true as well. I'd be happy with either of them winning, but WAR/DANCE is the one I'd like.

Didn't mention anything about the Golden Globes, but let me just say that my annual awards season betting frenzy started off with that ceremony (or lack of it) netting me a profit of a whacking great, er, £2.79. Hey, a profit's still a profit. Roll on the next awards event!

I'll be back at some point, probably over the weekend, to treat you to my ill-informed predictions for all categories. Bye for now!

Oscars 2008: Stupid Predictions (visual effects)

As promised, my stupid prediction on who'll win the Oscar for visual effects.

THE BOURNE ULTIMATUM? I've not seen it, but heard nothing but good things about it. One thing that strikes me is that most of the visual effects aren't so much effects as stunts performed for real, the old fashioned way, with only a little CG augmentation here and there. That's the way it should be, and it would be nice to think they'd get honoured for that, particularly since it's been a very well received film that will not likely win any other category. I don't see it happening though.

EVAN ALMIGHTY? Not seen that either, but nothing groundbreaking by all accounts.

THE GOLDEN COMPASS? Not seen that either (I told you these predictions were stupid) but it's the kind of big Hollywood nonsense that usually scoops awards in this kind of category. Dare the Academy risk the wrath of religious extremists though?

I AM LEGEND? The ruins of New York were brilliantly realised, but I put that down to great set design and the fact that they managed to shut off several blocks of NYC. A great achievement, but not necessarily worthy of a visual effects Oscar, and especially not when you consider that some of the CGI was a bit crappy. The animals for one thing, but even more so the dreadfully ill-conceived "dark seekers", who set the movie monster back at least ten years.

PIRATES OF THE CARIBBEAN? Not seen it. Don't want to see it. Don't want to see it win, either.

300? Everything about this film is visual and as an achievement in visual effects, it's staggering. However, the idea of digital sets is nothing new and it can't change the fact that the look was done by SIN CITY first.

TRANSFORMERS? Didn't see it and, since it's Michael Bay, I didn't really want to as his films are not really my cup of tea, or my cup of any kind of hot drink to be honest. I'll give him this though, the robots themselves did look pretty impressive in the trailers. Well, some of them at least.

Should win? 300.

Will win? TRANSFORMERS.

Back soon.

Oscars 2008: Stupid Predictions (make-up)

Still struggling to find the time here but it would be remiss of me to pass up the opportunity for more stupid Oscar predictions.

First of all, I just caught MICHAEL CLAYTON the other day. It's very good but not great, so don't expect it winning the big awards for the film itself; Clooney however is very likely to get a nomination for best actor, but I don't see him winning. But on to the other stuff.

There have been another couple of press releases over on the Oscars website since last I wrote.

First of all, a shortlist of seven films are fighting it out for the make-up award. I've seen one of them, and that was 300. The others are a mix of arthouse and big blockbusters. SWEENEY TODD's an interesting choice since the trailer just makes it look like the make-up consists of painting everyone white.

Yes, I know, there's really more to it than that and I don't want to upset all you make-up artists out there. So, having seen just one of them, I guess that means that me predicting a winner would be pretty stupid.

Therefore, in keeping with the theme of stupid predictions, I predict that the winner for the Oscar for make-up will go to LA VIE EN ROSE, you know, that one about Edith Piaf.

Coming soon: visual effects!

Another Oscar update

I don't know if you check out the Internet Movie Database regularly, but they have a section on the site devoted to the run-up to the Oscars where they also happen to list who has won the major critical awards so far. I've just been having another look at it just now and so far it seems that in the big categories, the story is as follows.

In the best film category, NO COUNTRY FOR OLD MEN is trouncing everyone and looks sure to be the winner. It's yet to open here in the UK but will do shortly and I'll be sure to post my thoughts. In the meantime, it looks certain that this will be a winner. However, let's not forget that CRASH came out of nowhere in recent years to beat the apparent favourites, so an upset may yet happen. The best indication, just as it was when CRASH won, is the Screen Actors Guild awards. They've announced their nominations (click here to visit them) so check that out, and keep a close eye on whichever film wins the award for the best cast. If NO COUNTRY FOR OLD MEN wins there, that's pretty much the Oscar outcome set in stone; if it doesn't, then an upset could well be on the cards.

The Coen brothers also look set to win the directing Oscar. I don't know if it's ever been won by more than one person (the last time two co-directors were even nominated was when Warren Beatty and Buck Henry got a nod for HEAVEN CAN WAIT) but it seems as likely as ever. There isn't even the albatross of Martin Scorsese not having an award anymore, so it seems like the Coens are definitely the likely winners. Certainly they've been trashing everyone in that category at all the other awards so I'm expecting a double win for the film on the big two awards.

Julie Christie still seems to be the out and out favourite for the best actress category but there is some opposition (based on awards to date) from Ellen Page (for JUNO) and Marion Cotillard (for LA VIE EN ROSE). Of these two, Page seems the most likely to provide any competition, but I'm still banking on (and hoping for) a win for Christie.

In the actor category, it is now looking more and more certain that Daniel Day-Lewis will pick up an award for his performance in THERE WILL BE BLOOD (another one that has not opened here yet) but of all the other candidates, George Clooney will at least run him close. I managed to miss MICHAEL CLAYTON when it came out, but I hope to catch it over the next couple of days and will of course post here when I have.

On a personal note, I'd like to add to my comments on the Oscar-likely films so far.

I caught SILENT LIGHT, Mexico's contender for a nomination in the foreign language category. It might get one, but it certainly won't win. At least I don't think so anyway; it just doesn't seem to me to be "mainstream" enough. Carlos Reygadas obviously has an artist's eye, giving rise to a breathtaking opening shot of a sunrise captured in time lapse photography. Unfortunately, while he is excellent at composing imagery, he treats the characters in the same way. That means lots of shots that linger on people's faces for interminable lengths of time and huge spaces between people actually saying anything. It's all very arty, but totally unrealistic and thus takes me right out of the movie every time there is a scene involving dialogue. It really, really annoyed me. I still want KINGS to win.

AMERICAN GANGSTER may possibly achieve another nomination for Denzel Washington in the acting category, although the underwritten role for Russell Crowe means his co-star can forget it. It's a very good film but nothing that hasn't been seen before; nevertheless, it's nominated in the all-important cast category of the SAG nominations so if it wins, it could be in with a shout at a surprise Best Picture nod (but the same goes for all the nominees in that SAG category, with INTO THE WILD being another dark horse).

I also caught Walt Disney's ENCHANTED. Not my usual kind of film, but after some good reviews and the fact that I like Amy Adams, I went to see it. I genuinely think this is a possibility for Adams in the Best Actress category. She is once again a joy to watch and while it's not the sort of role you'd usually see rewarded, let's not forget that Frances McDormand won an Oscar for FARGO in what was essentially a comedy role. Even if nominated, I couldn't see Adams beating Christie, but it would be nice to see her up there anyway.

In truth, it's more likely to win in the original song category. It's Disney after all, and it's what they do. Of the songs on the shortlist, "So Close" is the usual boring romantic dirge that could well be nominated if for no other reason than boring songs frequently get nominated. "That's How You Know" is a better candidate since it's typical Oscar-bating stuff but a little happier. Most deserving of the three though is "Happy Working Song" for the way it takes a typical Disney-style number but gives it a modern twist. (A fairy tale princess singing about cleaning the toilet? It works!)

I'd still prefer ONCE to win in that category though - apart from personal bias (although I admit ENCHANTED is excellent) it's just got better music.

Final note: I will try to keep posting regularly but the Freakpit is undergoing a bit of an upheaval at the moment so it might not be too regularly. Normal service will be resumed as soon as possible.

Oscars 2008: Stupid Predictions (song)

Sorry, I've been busy. I'm now back with another Oscar prediction though, and as always, it's stupid.

For you see, there are a total of 38 films, and I've seen just one of them. As if that wasn't bad enough, those 38 films have produced a total of 59 contenders for nominations. I'm talking of course about the Original Song category.

Another day, another discovery of a press release over on the Oscars website. Of those 38 films, the only one I've seen is the Irish musical romance ONCE, which I've praised more than once (no pun intended) on this blog.

Not only is ONCE the best film I've seen this year - oops, I may just have blown the suspense when I do a countdown of the best films of 2007 at a later date - but I also tipped it in my last blog entry to win in this category. Go on, check back if you don't believe me. I haven't edited it or anything, honest. Well, okay, I referred to it as "an outside bet", but that still counts, I think.

So, as a man who liked playing with shaving foam and mashed potato once said, this means something. It's an omen, surely.

Therefore, I've decided right here, before any nominations are announced, that the Original Song award at next year's Oscar ceremony will go to ONCE. It's got two possibilities of course, but either way it's a result for Glen Hansard, Marketa Irglova and director John Carney. It's really turned into this year's "little film that could".

So which song will win out of the two? No idea, so I'm going to say Falling Slowly, because that's the first one I thought of when I mentioned it the other day. Either would be a deserving win though, and I'm sure they're both better than the other contenders given the mind numbingly anodyne bobbins we're usually treated to at the Oscars. Haven't heard any of them, but I am assuming that at least one song from a kids film such as RATATOUILLE will be nominated because they always are.

But ONCE is the winner.

(Note: further to my previous Oscar chat, the Critics Choice awards have announced their nominations and INTO THE WILD and JUNO get seven and six nominations respectively - given that I've seen neither of them, that definitely increases the stupidity level of my Oscar predictions.)

Oscars 2008: Stupid Predictions (the rest)

In light of my other stupid predictions, I decided I was going to throw out a few guesses for the major categories to finish it (for now at least). Well it just so happens that today I read on the BBC website that award season has kicked off proper with the announcement of the winners of the NBR's big gongs.

The prediction that I was going to make - that three films leading the field would be ATONEMENT, NO COUNTRY FOR OLD MEN and THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD - seems to have been backed up by these awards, with NO COUNTRY FOR OLD MEN scooping the best film award.

Not that I had any basis for knowing that - the film hasn't opened here yet - but all the buzz is that this is the Coen brothers' best film in a long time and that the cast make a remarkable account of themselves too (the award for the ensemble cast also went to the same film).

The decision to award the best foreign film title to THE DIVING BELL AND THE BUTTERFLY tells us nothing really. Not only have I not seen it, it's not been put forward for Oscar shortlisting anyway, so it won't be winning that one. Their top five foreign films also included the ineligible THE BAND'S VISIT and LUST, CAUTION, but at the same time included both 4 MONTHS, 3 WEEKS AND 2 DAYS and THE COUNTERFEITERS, both of which I mentioned in my last blog entry.

The victory of BODY OF WAR seems to give that film an edge in the documentary arena, but I'm pleased to report that NANKING was in the top five (so at least one of my predictions carries some weight), as was the deserving-but-ignored-by-Oscar IN THE SHADOW OF THE MOON.

Two of the best films of the year, ONCE and AWAY FROM HER, featured in the NBR's list of top independent films. I don't see the former appearing in big categories at the Oscars but it might be an outside bet in the song category. AWAY FROM HER, on the other hand, would be good to see in the director category (actress Sarah Polley's directorial debut is superb) but it seems unlikely; it will, however, be nominated in the actress category at the Oscars. I mean it. If not, the world is insane.

You see, way back near the beginning of the year I saw AWAY FROM HER and have been tipping it ever since. Not only is it a great film, it's a great performance in the lead role by Julie Christie as a woman who sees her happy marriage break up when she starts going senile. I am slightly biased because I worship Julie Christie (or The Greatest Actress in the History of the World, to use her full title) but it will still be an outrage if anyone else wins, particularly since it hasn't been a particularly strong year for female leading roles. I think Keira Knightley will get a nod off the back of ATONEMENT's success, but she's no Julie Christie.

There were breakthrough acting awards for JUNO and INTO THE WILD (former hasn't been released here yet; the latter I managed to miss), and Amy Ryan (supporting actress) and Ben Affleck (debut director) got awards for GONE BABY GONE. Sadly I can't comment on this one as, despite great reviews, the UK release has been indefinitely shelved because of similarities to a real-life news story which I'm not going to discuss here. If you've seen a TV or newspaper within the last six months you know what I'm talking about. I would expect all of these films to at least merit nominations at the Oscars.

Other supporting actress nominations could go to the ATONEMENT gang, by which I mean the three actresses that played the same character. Saoirse Ronan's the most deserving but Vanessa Redgrave seems more likely.

The supporting actor award went to Casey Affleck for his brilliant performance in that Jesse James film (the title's too long for me to keep typing it) and, regardless of who else puts in a decent performance this year, he has this one sewn up already. To be honest, I'd be very surprised if a single awards ceremony doesn't honour him. Dead-cert winner.

The best actor award went to George Clooney for the titular role in MICHAEL CLAYTON, another film I managed to miss, but I don't think he'll be collecting the big one in February. He's definitely one of the more likely candidates, but I think he'll have to see off Tommy Lee Jones (for either NO COUNTRY FOR OLD MEN or IN THE VALLEY OF ELAH, neither of which I've seen, so I'm continuing the stupid prediction theme) or else will find himself up against his friend Brad Pitt who put in one of his best performances in that Jesse James film. Outside bet for a nomination is Emile Hirsch for the aforementioned INTO THE WILD, while it would also be nice to see Gordon Pinsent get a nod for his role opposite Julie Christie in AWAY FROM HER.

Let's see, what have I not mentioned yet... RATATOUILLE picked up best animated feature, not much of a surprise. Adapted screenplay, NO COUNTRY FOR OLD MEN - no surprise (except maybe ATONEMENT had a shout). Original screenplay? No idea. Despite the nods towards JUNO and LARS AND THE REAL GIRL courtesy of the NBR, I think most of the best films I've seen this year have fallen into the adapted category.

Finally, Tim Burton picked up best director for SWEENEY TODD - not seen it, but can't believe he's getting an Oscar having seen some of the films he's not won it for already. Also, I've not forgiven him for PLANET OF THE APES.

No, the director Oscar will go to either Joe Wright (ATONEMENT) or Andrew Dominik (that Jesse James film). I'd have suggested NO COUNTRY FOR OLD MEN normally too, but I gather the Oscars don't award co-directed films in this category (if memory serves me correctly).

Whatever happens, only three things matter come Oscar night: it's enjoyable, I make a profit at the bookies and Julie Christie gets another award. Anything less is unacceptable!

(I'd close by saying that normal service will be resumed, but as soon as another awards show comes along I'll probably write again, changing my mind on everything.)