Saturday Night Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.


Now Playing in NYC

I’m going to try my hardest to see both The Iron Lady and A Separation, each playing in a grand total of two New York City theatres this weekend, so instead I’ll offer recommendations for what you should see this holiday weekend wherever you are, if it’s playing in a theater near you. Happy New Year!

Highly recommended:
The Artist
Extremely Loud and Incredibly Close
Sherlock Holmes: A Game of Shadows

Recommended:
The Descendants
Tinker, Tailor, Soldier, Spy
Young Adult
Shame
Carnage
The Girl with the Dragon Tattoo
War Horse
Hugo
J Edgar
Happy Feet Two

New to DVD

The First Grader
(recommended): This sweet story about an 84-year-old Kenyan man who goes back to school to learn how to read is both moving and dramatic, if not a bit slow along the way. Tony Kgoroge gives a strong lead performance, and this film, if appealing, is genuinely affecting.

A Good Old Fashioned Orgy (recommended): This wild comedy stars Jason Sudeikis, Tyler Labine, and a whole slew of other people. Like this year’s “Our Idiot Brother,” it’s not as hilarious as it could have been, but that doesn’t mean it’s not still a lot of fun and highly enjoyable.

Brighton Rock (anti-recommended): This film noir, starring Andrea Riseborough, soon to be seen in Madonna’s “W.E.” is moody, unexciting, and can’t decide whether or not it wants to be taken seriously. Don’t bother.

Now on Netflix Instant Streaming

Certified Copy (highly recommended): For those who don’t like subtitles, this might not be the best choice, but it’s not hard to follow the fascinating conversation that happens between two strangers in English, French, and Italian, thanks to an entertaining script and strong performances from Juliette Binoche and William Shimell.

Tucker & Dale vs. Evil (recommended): This horror comedy is extremely funny, featuring Tyler Labine and Alan Tudyk as best friends who end up with a slew of college kids determined to put themselves in danger thinking that they’re deranged murderers. It’s not for the faint of heart in terms of gore, but for everyone else, it’s absolutely hilarious.

Mao’s Last Dancer (recommended): This tale of a state-trained Chinese dancer whose time spent in the United States changes him is notable for the strength of its dancing and the lead performance of non-actor Chi Cao, with able support from Bruce Greenwood, Kyle MacLachlan, and Joan Chen. See it for the dancing, but the story isn’t bad either.

No Strings Attached (mixed bag): This is indisputably the lesser of the two relationship comedies released this year. Natalie Portman is fun, but Ashton Kutcher is generally worthless, and the jump from “sex friends” to “best friends” doesn’t track since they were never best friends to begin with, making this a decently entertaining but otherwise ineffective film.

Home Video with Abe: A Better Life (Capsule Review)

A Better Life
Directed by Chris Weitz
Released June 24, 2011



Chris Weitz has an eclectic directorial resume, starting with “American Pie” and the Chris Rock comedy “Down to Earth,” highlighted by the Hugh Grant dramedy “About a Boy,” and then leading into the disappointing “The Golden Compass,” the Twilight film “New Moon,” and then this father-son immigration drama. What “A Better Life” has to offer is nothing exceptionally creative, presenting the story of a hard-working gardener, Carlos Galindo, trying to give his fourteen-year-old son Luis something to look forward to in his future. Luis’ interactions with local gangs and his father’s loss of his truck – which many have surely compared to the events of the classic Italian film “The Bicycle Thief” – make Carlos’ dream seem like an impossibility. Demian Bichir, most familiar to American audiences as high-powered and complicated villains Esteban Reyes from “Weeds” and Fidel Castro” in Steven Soderbergh’s saga “Che,” plays completely against type as the kind and honorable Carlos. He earned a Screen Actors Guild nomination for his performance, but, truth be told, he’s much more engaging and impressive in his less angelic roles. His onscreen son Luis is more irritating and ungrateful than anything else, and the main takeaway is that the film takes plenty of familiar and predictable turns, telling a story that might be powerful if it hadn’t been told so many times before in a similar and more effective manner.

B-

Oscar Predictions: Best Original Score

Oscar nominations are now less than a month away, it’s time to start looking at categories in detail to offer final predictions. Since the many of the categories will end up having finalists, it’s best to begin with those that have already been whittled down to those ultimately eligible. Therefore, categories may be presented in an unconventional order, but fear not, we’ll get to them all before Oscar nominations are announced on January 24th.

Last year’s nominees: How to Train Your Dragon, Inception, The King’s Speech, 127 Hours, The Social Network

Likely contenders:
The Adventures of Tintin (John Williams)
The Artist (Ludovic Bource)
Coriolanus (Ilan Eshkeri)
Extremely Loud & Incredibly Close (Alexandre Desplat)
The Girl with the Dragon Tattoo (Trent Reznor and Atticus Ross)
Hanna (Tom Rowlands)
Harry Potter and the Deathly Hallows Part 2 (Alexandre Desplat)
The Help (Thomas Newman)
Hugo (Howard Shore)
The Ides of March (Alexandre Desplat)
The Iron Lady (Thomas Newman)
Jane Eyre (Dario Marianelli)
Rise of the Planet of the Apes (Patrick Doyle)
Shame (Harry Escott)
The Skin I Live In (Alberto Iglesias)
Super 8 (Michael Giacchino)
Take Shelter (David Wingo)
Tinker Tailor Soldier Spy (Alberto Iglesias)
W.E. (Abel Korzeniowski)
War Horse (John Williams)
Warrior (Mark Isham)
Water for Elephants (James Newton Howard)

The rundown: Last week, 97 scores were officially deemed eligible for this award. More than anything, keep an eye out for Alexandre Desplat. He has been nominated four times in the past five years and he is eligible for three of his scores this year, all of which have a great shot, not to mention three others that weren’t deemed eligible: “The Tree of Life,” “Carnage,” and “A Better Life.” His best shot is Extremely Loud and Incredibly Close, which should get in here even if it’s snubbed elsewhere, Two Harry Potter scores, both by John Williams, have been nominated in the past, so Desplat could modify that statistic. Williams is eligible for two films, and he’s almost definitely getting in for Golden Globe nominee War Horse, and may also make it in for The Adventures of Tintin. Ludovic is going to earn his first Oscar nomination for his artful score for The Artist, and he’s likely to be joined by last year’s winners, Trent Reznor and Atticus Ross, for The Girl with the Dragon Tattoo. Three-time Oscar winner Howard Shore is a good bet to earn his first non-LOTR mention for Hugo, and that leaves one Golden Globe nominee unaccounted for. Abel Korzeniowski got a Golden Globe nod “A Single Man” in 2009 and then was snubbed come Oscar time, and I think the same will happen with W.E. I would personally include Shame and Take Shelter, but that may be an uphill battle given the fact that both Harry Escott and David Wingo have a very short awards history and their films will likely be looked at only for Best Actor, if that. I’d watch out for two recent winners to snatch up spots, Michael Giacchino for Super 8 and Dario Marinelli for Jane Eyre. If you’re interested in listening to the contenders yourself, your best bet is to head over to Amazon and preview the MP3 downloads soundtrack album for each film.

Current predictions:
The Artist
Extremely Loud and Incredibly Close
The Girl with the Dragon Tattoo
Hugo
War Horse

Movie with Abe: Extremely Loud and Incredibly Close

Extremely Loud and Incredibly Close
Directed by Stephen Daldry
Released December 25, 2011

There are many, especially those living in New York City, who will never feel that enough time has passed to make a film about the terrorist attacks on September 11th, 2011. Two 2006 films, “United 93” and “World Trade Center,” dealt with the events on that particular day, while the adaptation of Jonathan Safran Foer’s 2005 novel follows a child whose father was killed in the World Trade Center throughout the year after his loss. For those willing to endure tears, “Extremely Loud and Incredibly Close” is an immensely engaging and profoundly meaningful experience about a search for closure by one particularly precocious child.

“Extremely Loud and Incredibly Close” is anchored entirely by the relationship between nine-year-old Oskar Schell (Thomas Horn) and his father Thomas (Tom Hanks). During Thomas’ life, he energizes his socially awkward, marvelously adult-like son with lavish scavenger hunts and other projects utilizing New York City. After his death, Oskar finds what he is sure is his father’s final challenge for him, prompting a lengthy inter-borough adventure full of both dramatic and comic moments. The specific details of Oskar’s realization of his father’s fate are scattered throughout the film, brought to light only when Oskar begins thinking of them.

Thomas Horn delivers an astonishing debut performance, chosen for the role after winning over $30,000 on Teen Jeopardy in 2010. Horn has unbounded energy and an impossibly mature attitude, making Oskar a believable child and a fantastic protagonist for this story. Alexandre Desplat’s beautiful score is magnificent because it alters its tone and beat to match Oskar’s emotions, ebbing and flowing as he encounters obstacles and success along his journey. He is guided at times by the film’s other standout performer, Max Von Sydow, who plays the mysterious man renting a room from Oskar’s grandmother, who does not speak and communicates via written notes.

Stephen Daldry has made only four feature films, and his first three earned him well-deserved Oscar nominations for Best Director. His follow-up to “Billy Elliot,” “The Hours,” and “The Reader” is fully worthy of classification with its predecessors, demonstrating strong cinematic techniques in bringing the excellent script by Eric Roth to the screen. “Extremely Loud and Incredibly Close” succeeds mainly because it presents a story from a child’s point of view without seeming either too young or old. The approach to the delicate material is sensitive and respectful, and the film is inspirational, powerful, and entertaining with few lulls along the way.

B+

Movie with Abe: Albert Nobbs

Albert Nobbs
Directed by Rodrigo Garcia
Released December 21, 2011

It’s always intriguing when an actor or actress plays a character of a different gender, or, in this case, a character masquerading as someone of a different gender. An enticing premise, like the story of Albert Nobbs, a woman posing as a quiet, unassuming male waiter and butler in Ireland in the 1800s, doesn’t necessarily mean that the ensuing film will be interesting. The notion of Albert’s false existence is far more appealing than the story of his portrayer, which fails to be lively or dynamic, with mostly unenergetic supporting players and a surprisingly generic and uncreative plot.

Most of “Albert Nobbs” takes place within the confines of a hotel, where the insufferable Mrs. Baker (Pauline Collins) directs a staff of employees to cater to the luxurious tastes of her establishment’s clientele. Albert has managed to fly under the radar for years, barely speaking but always doing exactly as he is told, never arousing any suspicion until the arrival of another man with the same secret, revealed shortly after his first appearance, throws him for a loop. Albert begins to unravel, murmuring to himself about the possibilities of finding himself a wife and opening a tobacco shop, dreaming about finally being free to live the live he has been suppressing for so long.

The presentation of Albert’s story leaves much to be desired, as Albert, fascinating a character as he could be, isn’t nearly as enthralling as might be expected. Glenn Close delivers a careful, calculated performance, which is impressive if not terribly engaging. The film is most watchable when Janet McTeer appears on screen, as painter Hubert Page, who, like Albert, is not who he purports to be. McTeer adds considerable comedy to a film that is often lighter than it initially appears to be, thanks to the comic hijinks of Mrs. Baker’s management style and some of her less suave employees. Mia Wasikowska is left with little to do as the young and attractive Helen, who catches Albert’s eye as a potential wife but ignores him to be with deadbeat bad boy Joe Macken, a throwaway role played by Aaron Johnson. That particular subplot is dull and hopelessly trite, and it diminishes the impact of Albert’s search for companionship. Like its title character, the film rarely gives in to emotion or lets its characters lose control, turning an original concept into a dense and inaccessible run-of-the-mill doomed love story.

C+

Oscar Predictions: Best Original Song

Oscar nominations are now less than a month away, it’s time to start looking at categories in detail to offer final predictions. Since the many of the categories will end up having finalists, it’s best to begin with those that have already been whittled down to those ultimately eligible. Therefore, categories may be presented in an unconventional order, but fear not, we’ll get to them all before Oscar nominations are announced on January 24th.

Last year’s nominees: Coming Home (Country Strong), I See the Light (Tangled), If I Rise (127 Hours), We Belong Together (Toy Story 3)

Likely contenders:
"Lay Your Head Down” (Albert Nobbs)
"Star Spangled Man” (Captain America: The First Avenger)
"Collision of Worlds” (Cars 2)
"Rainbird” (Dirty Girl)
"Where the River Goes” (Footloose)
"Hello Hello” (Gnomeo & Juliet)
"Bridge of Light” (Happy Feet Two)
"The Mighty Sven” (Happy Feet Two)
"The Living Proof” (The Help)
"Coeur Volant” (Hugo)
"The Keeper” (Machine Gun Preacher)
"Life's a Happy Song” (The Muppets)
"Man or Muppet” (The Muppets)
"Pictures in My Head” (The Muppets)
"Sparkling Day” (One Day)
"Hot Wings” (Rio)
"Shelter” (Take Shelter)
"Gathering Stories” (We Bought a Zoo)
"Think You Can Wait” (Win Win)
"The Backson Song” (Winnie the Pooh)
"So Long” (Winnie the Pooh)

The rundown: This category is comprised of 39 original songs selected by AMPAS. As I usually do, I’ve created a YouTube playlist featuring as many of them as I was able to find, which you’ll find embedded below. I’m missing only 6, and if you happen to find the missing ones, do let me know, but they’re obscure enough that they don’t stand much of a chance. An important statistic about this category is that, with the exception of “The Weary Kind” from “Crazy Heart” in 2009, the Golden Globe winner has gone on to not even be nominated for an Oscar since 2003. Similarly, the eventual Oscar winner wasn’t even nominated for a Golden Globe in each of those cases. The only Globe tune not eligible for Oscar is Madonna’s “Masterpiece” from “W.E.” Last year, this category only had four nominees, which could well happen again. I think that Sinead O’Connor’s “Lay Your Head Down” (Albert Nobbs) is the surest bet, and Mary J. Blige’s “The Living Proof” (The Help) is looking pretty good too. “The Muppets” is almost guaranteed to make an appearance, and I’ll hedge my bets on “Life’s a Happy Song,” though the other two could easily accompany it. While Golden Globe nominees “Hello, Hello” (Gnomeo and Juliet) and “The Keeper” (Machine Gun Preacher) may well get nominated, I’d keep an eye out for Pink’s surprisingly calm and melodic “Bridge of Light” (Happy Feet Two) or “Collision of Worlds” (Cars 2), as well as “Star Spangled Man” (Captain America: The First Avenger) or the lovely French “Coeur Volant” (Hugo). I can’t imagine that either of the songs from “Winnie the Pooh” would make it in, but that would be sort of fun. My personal plug is for “Think You Can Wait” (Win Win). Please offer your thoughts in the comments below!



Current predictions:
"Lay Your Head Down” (Albert Nobbs)
"Star Spangled Man” (Captain America: The First Avenger)
"Bridge of Light” (Happy Feet Two)
"The Living Proof” (The Help)
"Life's a Happy Song” (The Muppets)

Movie with Abe: War Horse

War Horse
Directed by Steven Spielberg
Released December 25, 2011

For epic films, there are few better choices than Steven Spielberg. “Schindler’s List,” “Amistad,” “Saving Private Ryan,” and “Munich” are among his more serious productions, but the Indiana Jones series, “Jurassic Park,” and “War of the Worlds” demonstrate that Spielberg is capable of tackling diverse genres with complexity and masterful visuals. Spielberg therefore seems a perfect fit to adapt the extremely successful stage play “War Horse” into a 146-minute saga chronicling the mesmerizing life of one horse and the many people he comes into contact with in the run-up to and throughout World War I.

“War Horse” is a film that seeks to establish its status as a sweeping, important movie before any of its characters even appear, featuring gorgeous cinematography by Janusz Kaminski and a triumphant score by none other than John Williams. After that introduction, the film has set high hopes for itself, which it achieves slowly but surely as it navigates past a somewhat sluggish first plotline which involves the discovery of the magnificent abilities of Joey the horse as he helps to save the Narracott family farm, encouraged by starry-eyed doting trainer Albert (Jeremy Irvine). The outbreak of the war takes him through a spectacular journey, highlighted by his interactions with the noble Captain Nicholls (Tom Hiddleston) and the kindly German soldier Gunther (David Kross).

“War Horse,” in its narrative that constantly removes and introduces new characters, manages its most profound and meaningful moments when characters find their humanity in the midst of war thanks to the beauty and bravery of this horse. The film’s most affecting scene finds Joey caught and tangled in barbed wire, prompting two soldiers, one British and one German, to risk their lives to approach from their infantries’ safe cover to collaborate to free Joey. “War Horse” succeeds by infusing an occasionally slow, hokey, and overly dramatic plot with tender moments that are truly emotional and powerful. It’s a spectacular technical achievement, and the film is enhanced by its settings, choosing only the most visually stunning backdrops. It’s a film much more about aesthetics than about people or dialogue, and in that sense, it’s a glorious achievement. Like the initially unimpressive Joey, “War Horse” grows on its detractors, establishing a sense of wonder and turning its non-human protagonist into a true main character, endearing, lovable, and rather capable of carrying a film in which he is most certainly the primary star.

B

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

The Girl with the Dragon Tattoo (recommended): This David Fincher-directed remake isn’t as good as the Swedish original, but were it not for the existence of the other, this might be much more impressive. Rooney Mara is a fantastic Lisbeth Salander, and it’s still plenty thrilling and unsettling. Now playing in wide release. Read my review from yesterday.

War Horse (recommended): This Steven Spielberg-directed adaptation of the acclaimed play isn’t initially interesting but does manage to become more appealing as new characters are introduced and its equestrian protagonist is revealed to be increasingly brave. The visuals are its strongest element. Opening tomorrow in wide release. My review will be up tomorrow.

I really want to see Mission Impossible: Ghost Protocol, but I’m not sure I’ll make it a priority during this busy holiday season. Extremely Loud and Incredibly Close is on my list, as is Albert Nobbs, playing at the Film Society of Lincoln Center for one week only. The Adventures of Tintin, In the Land of Blood and Honey, and We Bought a Zoo, all have some appeal, but I’m not sure I need to see any of them. The same goes for Oscar contender Pina.

New to DVD

Warrior (highly recommended): This sports movie about two brothers both making separate strides towards an intense mixed martial arts competition really surprised me, since the genre hardly interests me. There are great performances, but more importantly, stellar depictions of the fights. Nick Nolte is SAG-nominated, but he’s hardly the best part.

Midnight in Paris (recommended): Woody Allen’s latest endeavor is not merely an ensemble tale of adultery. Instead, it stars a distracting Owen Wilson as a novelist who finds himself transported back to the 1920s each evening. The cast is fun and the writing is smart, as long as suspension of disbelief doesn’t detract from the fantasy experience.

I’ve been meaning to catch Margin Call, which has picked up a handful of debut director, independent film, and screenplay prizes this award season.

Now on Netflix Instant Streaming

A Mighty Heart (highly recommended): The movie that didn’t end up earning Angelina Jolie an Oscar nomination is actually quite terrific and extremely powerful, featuring an equally tremendous performance from Irrfan Khan. Michael Winterbottom directs a profoundly affecting and worthwhile film that didn’t garner nearly enough praise.

Hey Boo: Harper Lee and To Kill a Mockingbird (recommended): This documentary explores the life of the reclusive author of one of the most famous and important books in recent history, and should prove more than properly enthralling to those enticed by its subject matter.

Orgasm, Inc. (recommended): This documentary isn’t nearly as incendiary as its title suggests, looking at the science behind drugs for female sexual dysfunction. It’s a thorough and occasionally entertaining look at a complex and crazy industry.

The Constant Gardener (recommended): This 2005 film was Fernando Meirelles’ follow-up to “City of God,” and while it’s hardly as magnificent as that movie, it’s still quite compelling, thanks to an intriguing storyline and strong performances from Ralph Fiennes and Rachel Weisz, who won an Oscar for the role.

Friday For Your Consideration: John C. Reilly

Welcome to a returning seasonal weekly feature here at Movies with Abe, Friday For Your Consideration. As every year nears to a close, there are a number of actors nominated for Golden Globes, Oscars, and countless other awards. There are so many spots and there are so many deserving contenders, yet some inevitably get left out. Most weeks, I’ll be spotlighting one performance from this year which deserves a second look but might not get it. This doesn’t mean I’m not in favor of Octavia Spencer or Jean Dujardin getting their first nominations. They don’t need my help. As luck would have it, these actors do. I’ll be running this feature on a semi-regular basis until Oscar nominations are announced at the beginning of February, so leave your choices in the comments and I might feature them over the next couple of weeks! I’ve written at greater length about these performances in the reviews of the films, so make sure to read those for a more detailed look at why these actors deserve an Oscar nomination.

John C. Reilly (Cedar Rapids)
Where you’ve seen him before: All over the place, especially in 2002, when he appeared in three Best Picture nominees, “Chicago,” “Gangs of New York,” and “The Hours.”

Why he deserves it: Small-town salesman Tim Lippe (Ed Helms) is warned about Reilly’s Dean Ziegler when he heads to Cedar Rapids for an insurance convention, and while it’s true that Dean is extensively vulgar and inappropriate, it turns out that he’s actually a pretty nice guy. Reilly is enthusiastic and funny, making the class clown three-dimensional and sympathetic.

Standout scene: Easily one of the most memorable moments of the film, pictured above, finds Dean swimming in nothing but his underwear in the hotel pool with a trash bucket lid on his head holding a drink in one hand and beeping like R2-D2. Especially in his drunkest moments, it’s hard not to like Dean.

Why he won’t get it: Reilly has had a busy year, appearing also in “Terri,” “Carnage,” and “We Need to Talk About Kevin.” Unfortunately, he won’t get any attention for any of those films. If a Fox Searchlight independent comedy from the first half of the year is going to earn any Oscar buzz, it’s “Win Win,” not “Cedar Rapids.” Reilly will have to settle for his well-deserved Independent Spirit Award Best Supporting Male nomination, where he contends against Albert Brooks, John Hawkes, Christopher Plummer, and Corey Stoll.

Movie with Abe: The Girl with the Dragon Tattoo

The Girl with the Dragon Tattoo
Directed by David Fincher
Released December 21, 2011

When a movie is a remake of another film, not to mention one released within the past two years, it’s hard not to make comparisons. Additionally, it’s usually the first cinematic version of a story that makes a more lasting impression, and the remake, more often than not, is less impressive than the original. In the case of “The Girl with the Dragon Tattoo,” all three Swedish installments made their way to the United States in 2010, and now David Fincher’s reimagined version makes its debut. The Swedish and American productions are similar in many ways, with several notable and distinct differences.

The standout of this film is the girl with the dragon tattoo herself, Rooney Mara. After stealing her two scenes away from Jesse Eisenberg in “The Social Network,” Mara burrows herself deep beneath the surface of disturbed hacker Lisbeth Salander, imbuing her with a personality and sense of humor that her Swedish counterpart didn’t quite possess. She shines especially in some of the film’s toughest scenes, and out-acts an otherwise flat cast, with the exception of the dependable Stellan Skarsgard, who appears as Vanger Group head Martin Vanger. Daniel Craig, who has always been able to effortlessly enhance action movies, doesn’t do much here in a quiet and unengaging role as co-protagonist Mikael Blomkvist.

Due to the nature of its subject matter, “The Girl with the Dragon Tattoo” has to be an edgy film. The furiously-scored, graphic, strange opening credits establish a tone of grunginess and grotesqueness not entirely befitting of the film that ensues. Some story elements less emphasized in the Swedish film, pertaining mainly to Mikael’s personal life and the varied Vanger family members, while other details, particularly from the case of the Vanger case being investigated by Mikael, are less embellished. The story as a whole feels tamer and less disquieting, which makes its more gravely unsettling moments feel out of place. Yet there is still value in its style, and the energetic score by Trent Reznor and Atticus Ross, Oscar winners last year for their music from “The Social Network,” helps to create a certain mood. As its own film, this adaptation is a decent, if not entirely fast-paced thriller, but knowing just how fantastic the Swedish version was diminishes its impact, as does putting the two side by side for analysis. There is definitely value in Fincher’s interpretation, and its events and visualizations aren’t easy to forget.

B

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released December 9 – 16, 2011

Tinker, Tailor, Soldier, Spy
This moody spy thriller got shut out by SAG and the Golden Globes, but there’s still a chance that never-nominated Gary Oldman will slip into the Best Actor category. Benedict Cumberbatch, Colin Firth, or John Hurt might once have contended for Best Supporting Actor, but it’s doubtful that any of them could still make it in. If the Best Picture field was still guaranteed to be ten nominees wide, it might feasibly be one of them, and at this point, it will probably manage a mention for Best Adapted Screenplay, and, if voters really like it, it could also appear in Best Cinematography, Best Art Direction, Best Film Editing, or Best Original Score.

Young Adult
Jason Reitman was ignored for his first film, “Thank You For Smoking,” and Oscar-nominated for his second and third. Reteaming with “Juno” writer Diablo Cody means that the film will probably get in for Best Original Screenplay, but that may be it. Charlize Theron won’t be able to break into a crowded Best Actress field, and it would be strange for supporting actor Patton Oswalt to get in all by himself.

Carnage
This Roman Polanski-directed comedy didn’t make much of a splash anywhere, besides nominations for both Jodie Foster and Kate Winslet in the Best Actress in a Motion Picture – Comedy/Musical category at the Golden Globes. There’s just no room for them in either the Best Actress or Best Supporting Actress category, and so this film might have a shot at Best Adapted Screenplay and little more.

Sherlock Holmes: A Game of Shadows
The first film got mentions for Best Original Score and Best Art Direction. I’m not sure if the soundtrack is eligible, but it should be in if it is, and I would think that both Best Art Direction and Best Costume Design are good bets.

Home Video with Abe: Rise of the Planet of the Apes (Capsule Review)

Rise of the Planet of the Apes
Directed by Rupert Wyatt
Released August 5, 2011



Unexplained, unanticipated prequels to movie series aren’t necessarily bad. This reviewer’s first cinematic experience with highly intelligent apes was actually rather enjoyable, turning what could have been a highly silly and laughable story into an engaging and energizing one. It’s the kind of film where, appropriately enough, the humans aren’t entirely significant, and the story of the ascent of Caesar, the child of a genetically-modified ape, is what’s much more interesting. Andy Serkis continues his domination of motion capture by embodying the rather human role of Caesar, raised by the kindly Will (James Franco) before being incarcerated due to his animal instincts. The setup of this particular plot is similar to that of “I Am Legend” in its non-sci-fi sense, explaining the drug testing on apes as a way to cure Alzheimer’s disease, and tying that into Will’s storyline. The film’s most memorable moments come in its latter half when Caesar, and his legion of apes, finally do take control, as inevitably would be the case, and the effects are quite impressive. This film is entertaining while it lasts, and a good summer action flick to catch on DVD in the winter.

B

Monday Oscar Odds

Full-fledged, extensive Oscar predictions are coming in January, but I’d like to keep a running list of my predicted nominees up until that point, based purely on what we know now and subject to plenty of change. I’ll expand to include other categories later. For this week, I’ll offer revised official predictions for the top eight categories. Predictions will be updated as more awards groups announce. Please chime in the comments with your thoughts!

After the announcements of the Golden Globe and SAG Award nominations last week, we have a much better idea of what things could look like and which contenders might not be as strong anymore. Technical categories will be added soon, and for now, here’s where things stand.


Best Picture
The Artist
The Descendants
The Help
Hugo
Midnight in Paris
Moneyball
War Horse

Best Director
Woody Allen (Midnight in Paris)
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Martin Scorsese (Hugo)
Steven Spielberg (War Horse)

Best Actor
George Clooney (The Descendants)
Leonardo DiCaprio (J. Edgar)
Jean Dujardin (The Artist)
Ryan Gosling (Drive)
Brad Pitt (Moneyball)

Best Actress
Glenn Close (Albert Nobbs)
Viola Davis (The Help)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)

Best Supporting Actor
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
Jonah Hill (Moneyball)
Viggo Mortensen (A Dangerous Method)
Christopher Plummer (Beginners)

Best Supporting Actress
Bérénice Bejo (The Artist)
Jessica Chastain (The Help)
Janet McTeer (Albert Nobbs)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Original Screenplay
The Artist
Bridesmaids
50/50
Midnight in Paris
Young Adult

Best Adapted Screenplay
The Descendants
The Help
Moneyball
Tinker, Tailor, Soldier, Spy
War Horse

Movie with Abe: Carnage

Carnage
Directed by Roman Polanski
Released December 16, 2011

Film and theatre are different art forms, both with their strengths and weaknesses. Film allows for infinite visual possibilities and is not limited to a stage, while theater makes use of the imagination and features live, unpredictable performances. Most crucially, however, they are separate media, equally valid but not interchangeable. When a film reads, looks, and sounds like a play, it still has value but begs the question of why no filmic techniques were utilized to transplant a story from one art form to another. “Carnage” is certainly interesting, but is held back by the uncreative nature of its chosen format.

Since “Carnage” feels like a play, it’s all about the writing and the actors. The story is relatively simple, uniting two sets of parents whose children have had a rather violent schoolyard confrontation. On one side, there is Penelope (Jodie Foster) and Michael (John C. Reilly) as the parents of the injured child, and Nancy (Kate Winslet) and Christoph Waltz (Alan) as the parents of his attacker. Both parties feel that their child deserves little blame for the incident, and Penelope is especially strong-willed in her insistence that Nancy and Alan should apologize for their son’s actions. Predictably, this leads to confrontation and to a circular conversation that never permits Nancy and Alan to leave Penelope and Michael’s apartment, no matter how many times they might try.

Each character is imbued with a definitive quality that makes them distinct and particularly stubborn, which starts out as a mildly noticed trait and reaches a tipping point in all cases as the film goes on. Foster’s Penelope is obsessive and concerned with doing the right thing, while Reilly’s Michael is laidback and uneager to create conflict. Winslet’s Nancy wants to resolve the situation without creating more hostility, and Waltz’s Alan is uninterested and constantly answering work calls on his cell phone. Sticking those people in a New York city apartment for eighty minutes leads to both dramatic and comic entertainment, and fiercely energetic and funny performances from this Oscar-heavy cast. The writing is repetitive but sharp, and the score by Alexandre Desplat, which plays only before and after the plot plays out in the apartment, is whimsical and amusing, providing some context for this entirely indoor staging. Limiting its cinematic self to the confines of the stage doesn’t necessarily mean much is lost, but something feels incomplete in this otherwise enthralling story.

B

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

Sherlock Holmes: A Game of Shadows (highly recommended): This sequel is actually much better than the original film, casting Jared Harris from “Mad Men” as villain Professor Moriarty and featuring nonstop action throughout. It’s long, but thoroughly exciting and worthwhile. Now playing in wide release. Read my review from yesterday.

Carnage (recommended): This Roman Polanski-directed film is essentially a play captured on camera, which means that it’s fascinating for its content but unremarkable for its style. Jodie Foster, John C. Reilly, Kate Winslet, and Christoph Waltz all deliver memorable performances, acting out a clever and entertaining script.

Two so-called friends of mine dragged me to the first two “Alvin and the Chipmunks” films, and I’m hopeful that I’ll be able to avoid that same fate with Alvin and the Chipmunks: Chipwrecked.


New to DVD

Daddy Longlegs (anti-recommended): This showcase of bad parenting is a miserable film with a deplorable character and little sense of morality. Ronald Bronstein earned praise for his performance, but this film doesn’t deserve any commendation since it’s both negative and uninteresting.

I’m going to try to watch Rise of the Planet of the Apes sometime soon since I missed that while it was in theatres.

Now on Netflix Instant Streaming

Hemingway’s Garden of Eden (anti-recommended): This period piece stars Jack Huston of “Boardwalk Empire” and Mena Suvari as two philanderers with matching white hair living luxuriously and doing little of any interest. It’s a pretentious, unfocused, unnecessary film without any appeal. Skip it.

Movie with Abe: Sherlock Holmes: A Game of Shadows

Sherlock Holmes: A Game of Shadows
Directed by Guy Ritchie
Released December 16, 2011

Sequels can be tricky, since it’s hard to revisit an already popular concept and do it right the second time. In this case, however, the first film was well-designed in terms of its characters and setup, but was lacking in terms of the specific case selected. That means that the sequel is in fact much better than the original, preserving what worked well – acting and aesthetics – about the first movie and delving into a much more enticing and thrilling plot. “Sherlock Holmes: A Game of Shadows” is packed full of action and humor, marvelously enthralling for the whole of its 129-minute runtime.

Robert Downey Jr. is on fire again as Holmes, imbuing him with a sense of ridiculousness and flair only partially made up for by his brilliant detective skills. In the cleverly-titled “A Game of Shadows,” Holmes takes particular delight in blending into his surroundings, donning camouflaged clothing for the purposes of his own amusement several times, not to mention a handful of disguises to outwit his enemies. The wedding of his dear friend Watson (Jude Law) doesn’t ultimately disrupt their bickering-filled partnership, and they do need to keep their wits about them as they take on the highly evil Professor Moriarty. As played by Jared Harris of “Mad Men,” Moriarty is a fascinating, cunning, careful villain who never loses his temper or his composure. Noomi Rapace from “The Girl with the Dragon Tattoo” also finds herself a decent English-speaking role as a gypsy whose life is in danger, and Stephen Fry earns laughs as Holmes’ diplomat brother. The cast is hilarious and highly capable of working together to create a very fun – and funny – film.

The style established in this film’s predecessor, in which Holmes stops motion and details the specifics of the methods he’ll use to take down his enemy of the moment, which are then shown in slow-motion before the film speeds back up to actually utilize them, are on full display here and as effective as ever. The costumes and set design are terrific, and this film packs considerably more action than might be expected, and it never lets up for a moment, always ready to produce another gunman or prepare another disaster to be averted by Holmes and company. The film even starts in the middle of the action with Holmes tailing Rachel McAdams’ Irene in the midst of some dangerous business. With a third film already on the way, this could well become a series, and if this installment is any indication, the next film should be superb.

B+

Golden Globe Nominees: Best Motion Picture – Comedy/Musical

My predictions: 3/5
What’s missing? Beginners, Carnage, Cedar Rapids, Crazy Stupid Love, Friends with Benefits, The Guard, The Hangover Part II, Horrible Bosses, Larry Crowne, No Strings Attached, Win Win, Young Adult

Here we have a fun list for the top race, with each film receiving at least one acting nomination, which isn’t always the case for this category. I’m excited about the inclusion of 50/50, even if that means that there isn’t room for the wonderful "Beginners," one of my favorite films of the year. My Week with Marilyn is one of the rare examples of a film riding the coattails of its stars, which is to say that it won’t likely earn many best picture bids from other groups, but did here because voters like its actors. Bridesmaids made it in despite the curious snub of Melissa McCarthy. Midnight in Paris earned director and screenplay nods, which gives it an advantage, but I don’t think it will be able to take down the loveable film The Artist, which earned an impressive six nominations.

What could win? “The Artist”

Golden Globe Nominees: Best Motion Picture – Drama

My predictions: 5/6
What’s missing? The Tree of Life, J. Edgar, Drive, Shame, Tinker, Tailor, Soldier, Spy, Extremely Loud and Incredibly Close, The Girl with the Dragon Tattoo, A Dangerous Method

I have several comments on this race, and I’m not sure which to start with since they’re all equally interesting. I’ll begin with the nominations announcement, where Woody Harrelson said “Rampart” before explaining that it comes out on January 27th and isn’t on this list. Instead, we get six nominees, and The Ides of March is one of them, receiving three other nominations. I’m disappointed that I took it out of my predictions because SAG announced yesterday. It’s exactly the kind of film that Globe voters like, and one that Oscar voters probably won’t. I did correctly predict the other five nominees, which makes this technically my best category. Of them, War Horse received only a nomination for Best Original Score, while all but The Help and Moneyball got mentions for Best Director. Hugo scored three mentions, and The Descendants nabbed five. This means a shutout for “The Tree of Life,” “Tinker, Tailor, Soldier, Spy,” and “Extremely Loud and Incredibly Close,” all of which could potentially rebound at the Oscars after receiving zero SAG mentions.

What could win? I think this will be “The Descendants,” unless “The Ides of March” rallies for a surprise win.

Golden Globe Nominees: Best Director – Motion Picture

My predictions: 3/5
Who’s missing? Steven Spielberg (War Horse), Clint Eastwood (J Edgar), Bennett Miller (Moneyball), Tate Taylor (The Help), Tomas Alfredson (Tinker, Tailor, Soldier, Spy), David Cronenberg (A Dangerous Method), Cameron Crowe (We Bought a Zoo), Stephen Daldry (Extremely Loud and Incredibly Close), David Fincher (The Girl with the Dragon Tattoo), Ralph Fiennes (Coriolanus), Terrence Malick (The Tree of Life), Roman Polanski (Carnage)

This category doesn’t offer up too many surprises, including one newcomer and four heavy hitters. Notably missing is Steven Spielberg, whose film “War Horse” made it into the Best Motion Picture – Drama race, as well as the helmers of top category nominees “Moneyball” and “The Help.” The most unlikely inclusion is that of George Clooney (The Ides of March), whose film had a great showing today, and who is also nominated for Best Actor for “The Descendants,” which has its director, Alexander Payne, recognized here. Michel Hazanavicius (The Artist) earns his first nomination, along with Woody Allen (Midnight in Paris), receiving his fourth nomination, and Martin Scorsese (Hugo), earning his eighth.

Who will win? I’m torn between Hazanavicius and Scorsese, but I’ll go with the former, presuming that they’ll love the film.

Golden Globe Nominees: Best Screenplay – Motion Picture

My predictions: 4/5
What’s missing? The Help, Hugo, War Horse, Carnage

I’m definitely upset that I let the SAG announcements yesterday alter my picks, since I knew that The Ides of March was exactly the kind of film Globe voters would like. I am surprised, however, that the film booted to make room for it was The Help, which I would have thought was a lock here. The screenplay category here is always unpredictable, so I don’t think that will damn its chances at the Oscars. Woody Allen is back with directing and writing nods for the first time since 2005 for Midnight in Paris, and last year’s winner Aaron Sorkin is also returning as one of the co-writers of Moneyball. Rounding out the list are best picture rivals The Artist and The Descendants. An interesting note – for all films but “Moneyball” here, the director is also nominated as a writer.

What could win? I think “Moneyball” takes this, though maybe “Midnight in Paris” could give it a run for its money.

Golden Globe Nominees: Best Foreign Language Film

My predictions: 2/5
What’s missing? Le Havre, Miss Bala, Where Do We Go Now?

I didn’t feel too confident predicting this category, and I’m not sure I have any more knowledge about it now. A Separation (Iran) seems to be the frontrunner at this point for the Oscars, and The Flowers of War (China) is also a contender. The other three films, however, will only compete here, as their countries have submitted different entries for the Oscar race. Pedro Almodovar’s The Skin I Live In made it in expectedly, joined by Angelina Jolie’s In the Land of Blood and Honey and The Kid with a Bike, from Belgium. I’ve only seen one of these films, so please offer your thoughts in the comments if you’re more up to date.

What could win? I’m going to pick “A Separation” over “The Skin I Live In,” though it could go either way.

Golden Globe Nominees: Best Animated Feature Film

My predictions: 3/5
What’s missing? Happy Feet Two, Kung Fu Panda 2, Winnie the Pooh

I’ve only seen two of these films, so I’m going in somewhat blind, but what’s important to note is that a film I really liked, Cars 2, is the only straight sequel to earn a nomination. Spin-off Puss in Boots, which I haven’t yet seen, also makes the list, as does the bizarre and so-so Rango. It’s certain that The Adventures of Tintin will be intriguing, and I don’t have much interest in Arthur Christmas. This could easily be the eventual Oscar list, but I have a feeling that they’ll prefer the follow-up to “Happy Feet” over the second installment of “Cars.”

What could win? Probably “Rango.”

Golden Globe Nominees: Best Original Song

My predictions: 2/5
What’s missing: “The Muppets”

The nominees:
Albert Nobbs (Lay Your Head Down)
Gnomeo & Juliet (Hello Hello)
The Help (The Living Proof)
Machine Gun Preacher (The Keeper)
W.E. (Masterpiece)

This category was purely guesswork since I haven’t even started my comprehensive research into the Oscar-eligible songs (and more) that may or may not have popped up here. I’ve listened to all five inclusions, and none thrill me just yet. I’ll provide plenty more commentary before awards night. Please leave your thoughts on the included songs and any omissions in the comments!

What could win? I think it will be Madonna for “W.E.”

Golden Globe Nominees: Best Original Score – Motion Picture

My predictions: 3/5
What’s missing? “The Adventures of Tintin,” “Extremely Loud and Incredibly Close,” “The Help,” “J. Edgar,” plenty of others

This category was a crapshoot, but I still managed to do alright. The Artist (Ludovic Bource) represents the only first-time nominee in this category, a sensible inclusion since the film contains no dialogue and is driven by its music. Last year’s nominees for “The Social Network” return for The Girl with the Dragon Tattoo (Trent Reznor & Atticus Ross), as well as the composer of “A Single Man” for W.E. (Abel Korzeniowski). Two heavyweights are also present, for Hugo (Howard Shore) and War Horse (John Williams). I’ve yet to fully delve into the best scores of the year, so I’ll have more to say closer to awards night.

Who could win? Probably “The Artist,” but maybe “War Horse” or “W.E.”

Golden Globe Nominees: Best Actress in a Supporting Role in a Motion Picture

My predictions: 4/5
Who’s missing? Sanrda Bullock (Extremely Loud and Incredibly Close), Melissa McCarthy (Bridesmaids), Carey Mulligan (Shame), Vanessa Redgrave (Coriolanus), Naomi Watts (J Edgar), Evan Rachel Wood (The Ides of March)

I did actually predict all five of these nominees, but I put Berenice Bejo (The Artist) in the lead category instead to make room for SAG-snubbed Shailene Woodley (The Descendants). What’s quite puzzling is that Melissa McCarthy (Bridesmaids) was snubbed despite her film getting in for best picture and best actress, especially since this was the group that was going to nominate her, not SAG. Either way, the Oscar chances of Carey Mulligan aren’t looking too good now with six solid contenders for five slots, but Vanessa Redgrave, who could still surprise. Janet McTeer (Albert Nobbs) is looking good to make it to the Oscars, and she’s joined by Jessica Chastain (The Help), who got picked for the right movie, and costar Octavia Spencer (The Help).

Who could win? Spencer, probably.

Golden Globe Nominees: Best Actor in a Supporting Role in a Motion Picture

My predictions: 4/5
Who’s missing: George Clooney (The Ides of March), Paul Giammati (The Ides of March), Armie Hammer (J Edgar), Tom Hanks (Extremely Loud and Incredibly Close), Philip Seymour Hoffman (The Ides of March), Nick Nolte (Warrior), Brad Pitt (The Tree of Life), Max von Sydow (Extremely Loud and Incredibly Close), Christoph Waltz (Carnage)

I came close to perfection here, and I’m quite happy about my mistake, since I think that Viggo Mortensen (A Dangerous Method) was easily the best part of the otherwise snubbed David Cronenberg film, and I’m happy to see him recognized. No such luck for SAG nominees Armie Hammer and Nick Nolte, and despite the abundant love for “The Ides of March,” none of its supporting stars are here either. Instead, SAG-less Albert Brooks (Drive) makes an appearance, despite no other love for his film, and joins Jonah Hill (Moneyball), whose chances are looking better and better every day, and locked contenders Kenneth Branagh (My Week with Marilyn) and Christopher Plummer (Beginners).

Who could win? Probably Plummer.

Golden Globe Nominees: Best Actress in a Motion Picture – Comedy/Musical

My predictions: 3/5
Who’s missing? Cameron Diaz (Bad Teacher), Mila Kunis (Friends with Benefits), Natalie Portman (No Strings Attached), Julia Roberts (Larry Crowne)

I regret making two last-minute moves that messed me up: promoting Bérénice Bejo, who earned a supporting nod, to this category, and getting rid of Jodie Foster (Carnage), who was joined by costar Kate Winslet (Carnage) here. Both actresses were a lot of fun in the film, as were absent male costar Christoph Waltz and John C. Reilly. Charlize Theron (Young Adult) is here representing her film, nominated no where else, and Kristen Wiig (Bridesmaids) managed to make it in even though SAG-nominated costar Melissa McCarthy is nowhere to be found. Rounding out the list is the only legitimate Oscar contender on this list, Michelle Williams (My Week with Marilyn), whose film also earned a Best Motion Picture – Comedy/Musical mention.

Who could win? I’m betting it will be Williams.

Golden Globe Nominees: Best Actor in a Motion Picture – Comedy/Musical

My predictions: 3/5
Who’s missing: Steve Carell (Crazy Stupid Love), Johnny Depp (Pirates of the Caribbean 4), Johnny Depp (The Rum Diary), Robert Downey Jr. (Sherlock Holmes 2), Will Ferrell (Everything Must Go), Paul Giamatti (Win Win), Ed Helms (Cedar Rapids), Tom Hanks (Larry Crowne), Ewan McGregor (Beginners), John C. Reilly (Carnage), Justin Timberlake (Friends with Benefits)

I’m so very happy to see Brendan Gleeson (The Guard) nominated here. His performance in that film was superb, and it’s great to see another McDonagh-directed Gleeson role recognized. I’m less thrilled about Owen Wilson (Midnight in Paris), whose film managed bids for Best Motion Picture – Comedy/Musical, Best Screenplay, and Best Director. He was hardly the most capable of the cast. Ryan Gosling (Crazy Stupid Love) is nominated twice this year (also for “The Ides of March”), though neither mention is for the film that stands the best shot of earning him an Oscar nod, “Drive.” Joseph Gordon-Levitt (50/50) earns a well-deserved nod, and his film also made it into the best picture field. Rounding out the list is surefire Oscar nominee Jean Dujardin (The Artist), whose film earned an impressive six nominations.

Who will win? It’s going to be Dujardin.

Golden Globe Nominees: Best Actress in a Motion Picture – Drama

My predictions: 3/5
Who’s missing: Kirsten Dunst (Melancholia), Anne Hathaway (One Day), Keira Knightley (A Dangerous Method), Helen Mirren (The Debt), Elizabeth Olsen (Martha Marcy May Marlene), Rachel Weisz (The Whistleblower)

Things are looking up for Glenn Close (Albert Nobbs) and down for Elizabeth Olsen (Martha Marcy May Marlene), as the former scored nominations today and yesterday and the latter was snubbed at both ceremonies. I’m not sure quite what to make of the inclusion of Rooney Mara (The Girl with the Dragon Tattoo), a film which popped up additionally for Best Original Score but nowhere else. Michelle Williams, represented in the comedy race, needs a spot, so she may be out for the SAG list, which also included Globe nominees Viola Davis (The Help), Meryl Streep (The Iron Lady), and Tilda Swinton (We Need to Talk About Kevin).

Who could win? Could it be anyone but Streep?

Golden Globe Nominees: Best Actor in a Motion Picture – Drama

My predictions: 3/5 (technically)
Who’s missing: Demian Bichir (A Better Life), Daniel Craig (The Girl with the Dragon Tattoo), Matt Damon (We Bought a Zoo), Ralph Fiennes (Coriolanus), Ryan Gosling (Drive), Woody Harrelson (Rampart), Gary Oldman (Tinker, Tailor, Soldier, Spy), Michael Shannon (Take Shelter)

I shouldn’t have taken away my faith in “The Ides of March.” Though Albert Brooks managed a supporting nod, Ryan Gosling gets recognized here for the Clooney-directed drama, which also got in for Best Motion Picture – Drama and Best Director, meaning that I picked the wrong performance. Michael Fassbender (Shame) is a strong inclusion, though he’s the only mention of his film in any category. Leonardo DiCaprio (J Edgar) is hanging on well, joining George Clooney (The Descendants) and Brad Pitt (Moneyball), leaving SAG nominee Demian Bichir out in the cold.

Who could win? Out of this list, I still think it would be DiCaprio, though he has won before, so maybe it’s time for Clooney.

Final Golden Globe Predictions

In finalizing my predictions, I want to try not to think too much about this morning’s SAG announcement, since it’s much more fun to try to narrow down a bunch of fields to a slimmer selection, rather than the other way around. I’ve decided that it’s smart for me to go by GoldDerby’s category classifications, which means moving both “The Descendants” and “The Help” over to drama. I’m also not putting much faith in “The Ides of March” since that seems to be a non-starter. Click on hyperlinked category headings below to read my musings about each race, and refer to this page only for my final predictions. I’ll have reactions by category tomorrow morning, so stop by throughout the day to read my thoughts on who got nominated. Leave your predictions in the comments!

No guts, no glory:
“Warrior” for Best Motion Picture – Drama
Ed Helms for Best Actor in a Motion Picture – Comedy/Musical for “Cedar Rapids”
Jessica Chastain with multiple nominations in Best Supporting Actress

Best Motion Picture – Drama
The Descendants
The Help
Hugo
Moneyball
War Horse

Best Motion Picture – Comedy or Musical
The Artist
Beginners
Bridesmaids
Midnight in Paris
Young Adult

Best Performance by an Actor in a Motion Picture - Drama
George Clooney (The Descendants)
Leonardo DiCaprio (J. Edgar)
Ryan Gosling (Drive)
Gary Oldman (Tinker, Tailor, Soldier, Spy)
Brad Pitt (Moneyball)

Best Performance by an Actress in a Motion Picture - Drama
Glenn Close (Albert Nobbs)
Viola Davis (The Help)
Kirsten Dunst (Melancholia)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)

Best Performance by an Actor in a Motion Picture - Comedy or Musical
Jean Dujardin (The Artist)
Paul Giamatti (Win Win)
Joseph Gordon-Levitt (50/50)
Ryan Gosling (Crazy Stupid Love)
Tom Hanks (Larry Crowne)

Best Performance by an Actress in a Motion Picture - Comedy or Musical
Berenice Bejo (The Artist)
Julia Roberts (Larry Crowne)
Charlize Theron (Young Adult)
Kristen Wiig (Bridesmaids)
Michelle Williams (My Week with Marilyn)

Best Performance by an Actor in a Supporting Role in a Motion Picture
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
Armie Hammer (J. Edgar)
Jonah Hill (Moneyball)
Christopher Plummer (Beginners)

Best Performance by an Actress in a Supporting Role in a Motion Picture
Jessica Chastain (The Help)
Melissa McCarthy (Bridesmaids)
Janet McTeer (Albert Nobbs)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Director - Motion Picture
Clint Eastwood (J. Edgar)
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Martin Scorsese (Hugo)
Steven Spielberg (War Horse)

Best Screenplay - Motion Picture
The Artist
The Descendants
The Help
Midnight in Paris
Moneyball

Best Original Score - Motion Picture
The Adventures of Tintin
The Artist
Hugo
J. Edgar
War Horse

Best Original Song - Motion Picture
Albert Nobbs (Lay Your Head Down)
Happy Feet Two (Bridge of Light)
The Help (The Living Proof)
The Muppets (Life’s a Happy Song)
The Muppets (Pictures in My Head)

Best Animated Feature Film
The Adventures of Tintin
Cars 2
Happy Feet Two
Kung Fu Panda 2
Rango

Best Foreign Language Film
Le Havre (Finland)
A Separation (Iran)
Where Do We Go Now? (Lebanon)
Miss Bala (Mexico)
The Skin I Live In (Spain)

SAG Nominees: Best Ensemble Cast in a Motion Picture

My predictions: 4/5
What’s missing: Hugo, Moneyball, The Tree of Life, War Horse, Drive, Tinker, Tailor, Soldier, Spy, J. Edgar, The Girl with the Dragon Tattoo, Extremely Loud and Incredibly Close, The Ides of March

One big surprise here: comedy Bridesmaids makes the cut, which is a fun choice. Actually, depending on how things sort out tomorrow, this could be the Best Motion Picture – Comedy/Musical list, which would be extremely interesting. The Help comes out strong today with three acting nominations, while The Artist has two, and The Descendants has one. Rounding out the list is Midnight in Paris, which may still be a Best Picture Oscar contender, but it’s too early to tell just yet if it will make it all the way. In terms of the snubs, “Hugo” might have done well to get in here, but otherwise nothing that needed to be here wasn’t. The Golden Globes should still offer much helpful information on what Best Picture might look like.

What could win? Probably “The Help.”

SAG Nominees: Best Actress in a Supporting Role

My predictions: 2/5
Who’s missing: Vanessa Redgrave (Coriolanus), Evan Rachel Wood (The Ides of March), Kate Winslet (Carnage), Carey Mulligan (Shame), Shailene Woodley (The Descendants)

I see now that Viola Davis is going to be considered a lead actress, and therefore her nomination in that category makes sense. I’m thrilled that Jessica Chastain (The Help) was recognized for her best performance this year (of the five I’ve seen), and she joins expected lock Octavia Spencer (The Help). I’m excited for Bérénice Bejo (The Artist), who managed a nomination despite being relatively unknown in this country. I have yet to see Janet McTeer (Albert Nobbs) in her film, and I’ll be able to comment more on that once I’ve see it. The biggest surprise here, which isn’t entirely shocking, is the inclusion of Melissa McCarthy (Bridesmaids), a comic performance which rarely gets such attention. Her mention hurts Carey Mulligan and Shailene Woodley most of all, but they could still rebound and come through with Oscar nominations.

Who could win? I’m pretty sure that Spencer is going to sweep this category throughout awards season, but it could be any of them except for McTeer.

SAG Nominees: Best Actor in a Supporting Role

My predictions: 2/5
Who’s missing: Albert Brooks (Drive), John Hawkes (Martha Marcy May Marlene),
Christoph Waltz (Carnage), Max Von Sydow (Extremely Loud and Incredibly Close), Paul Giamatti (The Ides of March), Philip Seymour Hoffman (The Ides of March), George Clooney (The Ides of March), Brad Pitt (The Tree of Life),

And now we finally have a solid list of contenders for this category. Christopher Plummer (Beginners) and Kenneth Branagh (My Week with Marilyn remain at the head of the pack, with their chances all but sewn up. Armie Hammer (J Edgar) manages to stay in the race despite wavering love for his film and likely due to some regret over snubbing him last year for “The Social Network.” I’d be more thrilled about the inclusion of Nick Nolte (Warrior) if he had been the best part of that film, and I’m still not sure he’ll make it all the way to Oscar. I’m excited for Jonah Hill (Moneyball), who is making his way towards being considered a serious actor with this well-deserved and awesome mention.

Who could win? It’s all about Plummer, I think.

SAG Nominees: Best Actress in a Leading Role

My predictions: 3/5
Who’s missing: Elizabeth Olsen (Martha Marcy May Marlene), Kirsten Dunst (Melancholia), Keira Knightley (A Dangerous Method), Charlize Theron (Young Adult), Jodie Foster (Carnage)

I’m not sure exactly why I didn’t swap out Jodie Foster for a more legitimate contender, and it does seem that Viola Davis (The Help) is a certifiable lead at this point. I’m thrilled to see Tilda Swinton (We Need to Talk About Kevin), and need to make a point of seeing that film, which was released this past week, very soon. Glenn Close (Albert Nobbs) manages to stay in the race with a nomination here, and she’s joined by expected nominees and surefire locks Meryl Streep (The Iron Lady) and Michelle Williams (My Wee k with Marilyn). Now we get to the notable snub, which is Elizabeth Olsen. If “The Help” is classified as a comedy by the Golden Globes, she should get a drama mention tomorrow, but if not, I’m not sure how her chances are looking given that this could very well be an Oscar list…

Who could win? Streep

SAG Nominees: Best Actor in a Leading Role

My predictions: 4/5
Who’s missing: Woody Harrelson (Rampart), Gary Oldman (Tinker, Tailor, Soldier, Spy), Michael Fassbender (Shame), Michael Shannon (Take Shelter), Ryan Gosling (Drive), Ryan Gosling (The Ides of March)

This category had an alphabetical surprise right off the bat, with Demian Bichir (A Better Life), best known in the USA for his performances in “Weeds” and “Che.” This is a big get for him, and a reminder to me that I need to see this film, which has been on DVD since October. He still has to face off against all of the above-listed contenders, but a Golden Globe nod tomorrow will help. The rest of the list is fairly expected, starting with Leonardo DiCaprio (J. Edgar), whose nomination was far from guaranteed at this point. Rounding out the list, we have certifiable locks George Clooney (The Descendants), Jean Dujardin (The Artist), and Brad Pitt (Moneyball).

Who could win? It’ll be tough, but I think that DiCaprio or Dujardin might take it home.

Final SAG Predictions

With the announcement of the Critics’ Choice nominations today, we’re well into Oscar season. The Screen Actors Guild, announcing unusually before the Golden Globes (by one day), will provide the first certifiably semi-accurate look at what the Oscar list could shape up to be. I’m wondering whether Glenn Close will in fact get in, and this is going to be an important moment for “The Artist” and “Drive” and several other films that may waver in the acting categories. I’m still banking on “The Ides of March” doing very well here, but we’ll see. “Young Adult” may make a showing in several categories. Nominees will be announced in the morning, and I’ll be here with reactions by category.

No guts, no glory (just one):
“Tinker, Tailor, Soldier, Spy” for Best Ensemble Cast

Best Actor in a Leading Role
George Clooney (The Descendants)
Leonardo DiCaprio
Jean Dujardin (The Artist)
Ryan Gosling (The Ides of March
Brad Pitt (Moneyball)

Best Actress in a Leading Role
Glenn Close (Albert Nobbs)
Jodie Foster (Carnage)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)

Best Actor in a Supporting Role
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
John Hawkes (Martha Marcy May Marlene)
Philip Seymour Hoffman (The Ides of March)
Christopher Plummer (Beginners)

Best Actress in a Supporting Role
Jessica Chastain (The Help)
Viola Davis (The Help)
Carey Mulligan (Shame)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Ensemble in a Motion Picture
The Artist
The Descendants
The Help
The Ides of March
Midnight in Paris

Movie with Abe: Young Adult

Young Adult
Directed by Jason Reitman
Released December 9, 2011

Jason Reitman has an excellent track record. Two of his first three feature films were nominated for Best Picture at the Oscars – as well as Best Director – and the first, “Thank You For Smoking,” is perhaps even better than his other two. His latest film, “Young Adult,” is less laced with parody than “Thank You For Smoking,” less offbeat than “Juno,” and less serious than “Up in the Air.” Reteaming with “Juno” scribe Diablo Cody provides the opportunity for a return to uncontrollable cleverness, imbuing its title character with a hefty dose of personality and a taste for cruelty, making her one of cinema’s most unlikeable and entertaining protagonists.

Charlize Theron, who has earned Oscar nominations for her dramatic performances in “Monster” and “North Country,” is not the most conventional choice to headline a comedy. Her recurring role on “Arrested Development” might recommend her to the educated viewer, but otherwise her ability to be consistently funny comes as somewhat of a surprise. Theron puts up an icy wall around herself as she takes on the role of Mavis Gary, a young adult author whose cleanliness and courtesy leave much to be desired. In an attempt to avoid her deadline and perhaps even gain some inspiration, Mavis returns to her hometown of Mercury, Minnesota to win back her high school boyfriend, who is now married with a newborn baby.

What’s great about Mavis is that she doesn’t care what anyone thinks, doing the opposite of what might be considered acceptable at nearly every turn. She has no filter and dresses exactly how she wants to despite presumable societal objections. Theron plays her with such a passionate disregard for anyone else’s opinion that she really becomes someone that audiences can love to hate. Her former beau, Buddy Slade (Patrick Wilson) is nice enough, but his obliviousness to her energetic designs to steal him away make him somewhat pitiable, as is also the case for his sweet wife Beth (Elizabeth Reaser). The film’s only truly compassionate character is Matt Freehauf (Patton Oswalt), a former classmate of Mavis’ who was the victim of a brutal beating in high school that left him somewhat crippled. A chance encounter with Mavis at a bar makes him her unfortunate confidante and punching bag, providing many of the film’s best scenes. The words that spew from Mavis’ mouth can easily be traced back to Cody’s pen, and the dialogue is what makes the movie so entertaining. It’s hardly a kind film, but sometimes it’s worthwhile to shine a light on the more despicable people out there, and this is a compelling and enthralling argument for that.

B+

Movie with Abe: Tinker, Tailor, Soldier, Spy

Tinker, Tailor, Soldier, Spy
Directed by Tomas Alfredson
Released December 9, 2011

There’s nothing like a good spy thriller. Espionage in general is exciting, and the hunt for a double agent within the ranks of the United Kingdom’s central intelligence agency makes the plot even more enticing. Some films struggle with emphasizing either characters or story, and that’s not a problem that plagues “Tinker, Tailor, Soldier, Spy,” a contemplative, layered film featuring a healthy sampling of the best British and European actors working today. While the plot does drag occasionally as the film wallows in its moodiness, there’s no denying the stylized allure of this adaptation of the classic spy novel.

“Tinker, Tailor, Soldier, Spy” is best embodied by its protagonist, the ironically-named George Smiley, played with immense dedication by Gary Oldman. Smiley chooses his words carefully and never says anything or makes a movement without cause. His attention to detail and precision makes him the perfect man to root out a mole in his unit. Oldman is surrounded by a truly astounding cast that includes Benedict Cumberbatch, Colin Firth, Mark Strong, Toby Jones, Ciarin Hinds, Tom Hardy, Simon McBurney, and in a particularly fabulous role, John Hurt as operations director Control. There is not a weak link in this incredibly capable and commendable ensemble.

The cast is not the only exceptional part of “Tinker, Tailor, Soldier, Spy.” Each aspect and element of the film is fine-tuned for the utmost accuracy and dramatic potential, and the film is structured much like the way that its main character George Smiley lives, including only what is absolutely necessary and of most value. The dialogue, flooded with codenames and covert allusions, is crisp and superb, turning mundane occurrences into clues and red herrings. The film jumps through time regularly as a way of assembling a coherent picture of events, establishing a timeless and almost endless feel to Smiley’s search. The costumes and hairstyles are especially notable, as the film stands true to its 1970s setting. In its commitment to building suspense through care and emphasis on accuracy, the film wavers a bit as its web of deception becomes ever more complex. There’s no one specific moment that lags, but rather a sense of unproductiveness midway through the film that pales in comparison to the rest of the film’s focus on precision. Regardless, “Tinker, Tailor, Soldier, Spy” is an expertly crafted, deeply interesting thriller that excels in storytelling, aesthetics, and rich performances from its talented male cast.

B+

Movie with Abe: Coriolanus (Capsule Review)

Coriolanus
Directed by Ralph Fiennes
Released December 2, 2011



Shakespeare films are usually made for a certain kind of audience. This adaptation of one of Shakespeare’s least-known works, about a Roman general full of hubris, puts a modern-day spin on the story, outfitting its characters with suits and ties, cell phones and televisions, and cars but keeping in the Shakespearean dialogue. What results is an intriguing visual experiment, presenting an archaic tale as envisioned in an imagined city called Rome that could easily exist in the present day. For the Shakespeare aficionado, it’s likely to be a marvelous delight to see television newscasters speaking Elizabethan English, whereas those less inclined to salivate over the Bard will find it to be a less satisfying experience. The film rarely utilizes any special cinematic techniques, focusing instead on bringing its plot to life, and only occasionally does the camerawork lens its events in a truly invigorating fashion. Ralph Fiennes, behind the camera for the first time, has just the right impatient energy for the title role, and he’s well-matched by Gerard Butler in what can be seen as a rare solid movie choice for him as his sworn enemy. Vanessa Redgrave is sure to be lavished with praise for her passionate performance as the main character’s mother, a lively if not entirely fulfilling turn. Ultimately, “Coriolanus” is an interesting character piece and little more, notable merely for a decent attempt at a modern update.

C+

Saturday Night Movie Recommendations with Abe

Welcome to a weekly feature here at Movies With Abe. I'm going to be providing a handy guide to a few choice movies currently playing in NYC as well as several films newly released on DVD. I’ll also aim to comment on those films I have not yet had the chance to see, and I invite you to add in your thoughts on any films I haven’t seen in the comments below. Understandably, some weeks will have considerably fewer releases to address than others.

Now Playing in NYC

New Year’s Eve (mixed bag): I didn’t classify this one under “anti-recommended” merely because anyone who watches the trailer knows exactly what to expect. It’s not nearly as unbearable as it could have been, and a step up from “Valentine’s Day,” but that’s about it. Hardly the best romance blockbuster I’ve ever seen. Now playing in wide release. Read my review from yesterday.

I was supposed to see We Need to Talk About Kevin earlier this week, but that didn’t work out, and I’m scrambling to see both Tinker, Tailor, Soldier, Spy and Young Adult sometime soon before awards start piling up!

New to DVD

The Debt (recommended): This thriller based on an Israeli film follows a Mossad team in two time periods and features some strong performances. It’s not entirely excellent but is certainly competent enough, both thought-provoking and suspenseful.

The Help (recommended): This light-hearted drama tackles a serious subject matter with grace and humor, featuring four exceptional female performances from the likes of Octavia Spencer, Viola Davis, Bryce Dallas Howard, and Jessica Chastain. It’s going to be an Oscar contender, so see it now if you missed it!

Now on Netflix Instant Streaming

Eagle vs. Shark (highly recommended): I was thrilled when I saw this 2007 gem from New Zealand on the Netflix list. Jemaine Clement and Loren Horsley are both delightful in this wonderfully offbeat comedy about two weird people whose love might just make it. See it now.

Waiting for Superman (recommended): One of last year’s most highly-acclaimed documentaries about the education system in America is extremely informative and enlightening, and definitely deserves to be seen.

Peter Pan (mixed bag): This 2003 take on the classic story features Jason Isaacs in the role of Captain Hook and present a modern look back at this fairy tale. It’s an intriguing if somewhat ultimately unfulfilling journey, enhanced by a truly wonderful score.

Movie with Abe: New Year’s Eve

New Year’s Eve
Directed by Garry Marshall
Released December 9, 2011

Nothing puts you in the spirit of New Year’s Eve like celebrating the arrival of 2012 three weeks early. Warner Bros shouldn’t be faulted for trying to give this film a holiday jump-start by releasing it at the beginning of December rather than the end, and there are far more relevant problems with the film. As a sort of pseudo-sequel to the 2010 film “Valentine’s Day,” also featuring Ashton Kutcher, Jessica Biel, and Hector Elizondo, and directed by Garry Marshall, helmer of “Pretty Woman” and “The Princess Diaries,” expectations shouldn’t be high, and this sappy holiday extravaganza delivers about as much eyeroll-inducing unlikely romance as it possibly can.

There has hardly ever been a film so overstuffed with actors. With a staggering eighteen stars credited on the poster and another five or so not listed in the main cast, it’s hard to have a scene without a wildly recognizable face in it, yet that also means that each plotline is allowed only about two or three scenes throughout the entire film to develop its characters. The cast is made up of certain distinct groups – those currently at the height of their popularity in television careers (Sofia Vergara, Lea Michele), the Oscar winners (Hilary Swank, Robert De Niro), those who haven’t done much in a while (Michelle Pfeiffer, Halle Berry), musician non-actors (Jon Bon Jovi), young stars (Zac Efron, Abigail Breslin), and those who might be expected to star in this kind of film (Katherine Heigl, Josh Duhamel).

That hectic mess of people means that not much attention can be paid to each storyline, yet somehow some do manage to be fleshed out and propelled towards their inevitable happy endings with a decent amount of energy and spirit. Most of the stories lack conflict, and some do manage do develop it as the film goes on so that they actually have something to overcome. Every actor plays a character describable by occupation only, with considerably little substance. It’s perplexing that Ashton Kutcher continues to get paid merely to walk around unshaven and in pajamas, and he’s one character that exemplifies why the film just isn’t trying. The casting of Hilary Swank is peculiar since this is not the type of film she usually makes, and she does take herself a bit too seriously. Abigail Breslin manages to grow up in the span of this film from a child actor playing mature parts to what she believes to be a bona-fide adult, while Zac Efron would do well to tone down his ego a bit. Seth Meyers and Til Schweiger (“Inglourious Basterds”) manage to steal the spotlight as the husbands of two very pregnant wives, delivering the film’s funniest lines. As it approaches its conclusion, “New Year’s Eve” effectively applies some of the techniques a mass romance like this is almost required to have, faking out its audience with false positives if only to make it believe for half a second that not quite everyone might end up happily ever after.

C-

Home Video with Abe: Rango (Capsule Review)

Rango
Directed by Gore Verbinski
Released March 4, 2011



One of this year’s most highly-acclaimed animated films is also one of this year’s most peculiar and disjointed pictures. This inexplicably PG-rated movie contains humor aimed almost entirely at adults. It’s a western parody that only occasionally succeeds at being effective, often trying to mimic but instead merely mirroring, creating an animated tale of a dramatic showdown that has been told many times better in classic films from the 1950s and 1960s. Physical comedy is present on a regular basis, but much of it is directed at a much younger crowd than what the rest of the film’s contest would suggest. The film gets interesting towards its end, but it drags on so much until then that it’s hardly still worthwhile. No matter what its target audience is, “Rango” is intriguing but ultimately inconsistent, and pales in comparison to Western comedies such as “Blazing Saddles,” with its animated format and animal kingdom adding little.

C

Wednesday Oscar Watch

Welcome to a newly-restarted feature here at Movies with Abe, Wednesday Oscar Watch with Abe. It’s a bit early to be able to accurately predict the eventual Oscar nominees, but around this time, plenty of likely contenders are being released. I’ll be looking every Wednesday at the awards chances for all of the films released the previous week. Chime in with your thoughts on the Oscar chances for these films in the comments section. Also, if I’ve missed any films from the previous months, please say so!

Films released December 2, 2011

Shame
This NC-17-rated release from Fox Searchlight has plenty of Oscar potential, and the only question is whether it will be able to overcome its damning rating. This past Monday, I took Michael Fassbender and Carey Mulligan out of my predictions, but I think that they’re still likely to be included. The film could also place in Best Original Screenplay, Best Director, Best Cinematography, Best Film Editing, Best Original Score, and if things really go well, Best Picture.

Coriolanus
This late January release is currently in the middle of its Academy eligibility run in New York. I’m planning to go see it this evening at the AMC Lincoln Square theatre. This is Ralph Fiennes’ directorial debut, and while he probably won’t place in that category, he could compete for Best Director, and Vanessa Redgrave could earn a Best Supporting Actress nomination. The film may also find itself with several technical nominations such as Best Costume Design or Best Art Direction.

Sleeping Beauty
I’ve heard close to nothing about this film, so I wouldn’t count on Emily Browning making the cut for Best Actress. Best Costume Design or Best Art Direction wouldn’t be out of the question, but there are a load of other films ahead of it.

Movie with Abe: Shame

Shame
Directed by Steve McQueen
Released December 2, 2011

When a film earns an NC-17 rating, that’s often all that’s discussed, and other elements of the film may be ignored altogether. That should hardly be the case for “Shame,” an adult drama featuring complex, nuanced performances from two European actors playing native New Jerseyians living in the heart of New York City. Since “Shame” is the story of a sex addict, there’s bound to be excessive amounts of sex in the film, but that’s not all there is to it. McQueen and co-writer Abi Morgan have crafted a deep, disturbing exploration of the darker side of those whose secret lives consume their every breathing moments.

Michael Fassbender is an actor who has demonstrated extraordinary promise with parts in “Inglourious Basterds” and “Fish Tank,” and been given mediocre material in “A Dangerous Method” and “X-Men: First Class” this year. His role in “Shame” allows him to immerse himself fully into his character, barely uttering more than a few sentences for the entirety of the movie, instead revealing his desires through his actions and, most memorably, his facial expressions. It’s a masterful performance that makes him unlikeable but irresistibly fascinating. Carey Mulligan, the breakout star of “An Education” in 2009, plays completely against type as his loud, trashy, promiscuous sister, whose life is lived entirely exteriorly. Her performance is equally captivating, and these two make for hypnotizing siblings.

“Shame,” as lensed by cinematographer Sean Bobbitt and directed by Steve McQueen, is visually stimulating from start to finish, not for the sexual content it displays but for the attention to detail and scenery it establishes. An anger-fueled evening jog taken by Fassbender’s Brandon is filmed in such a way that it feels like the most important event of the entire movie, yet it’s merely a forgettable few minutes of Brandon’s life. That makes the truly momentous scenes, such as Brandon’s unspoken flirtation with a woman on the subway in an early scene, scored majestically by Harry Escott, all the more powerful and dazzling. Nothing is trivial in “Shame,” and even the most mundane of events is transformed into something heavy and impactful. It’s impossible to look away, both when Brandon’s life is as normal as it gets and when he spirals out of control. Though its conclusion isn’t fully satisfying, there’s no denying that the investigation into this deeply damaged character is utterly mesmerizing, with appropriately selected sexual content chosen to tell this story.

B+

Monday Oscar Odds

Full-fledged, extensive Oscar predictions are coming in January, but I’d like to keep a running list of my predicted nominees up until that point, based purely on what we know now and subject to plenty of change. I’ll expand to include other categories later. For this week, I’ll offer revised official predictions for the top eight categories. Predictions will be updated as more awards groups announce. Please chime in the comments with your thoughts!

I’ve been extensively covering awards announcements over at Shockya, so read about the NYFCC & Independent Spirit Awards and the NBR and the Satellite Awards. Those precursors are reflected in the slightly revised predictions below, essentially capturing the downfall of “J. Edgar” and the rise of “Hugo.”


Best Picture
The Artist
The Descendants
The Help
Hugo
Midnight in Paris
Moneyball
War Horse

Best Director
Michel Hazanavicius (The Artist)
Alexander Payne (The Descendants)
Terrence Malick (The Tree of Life)
Martin Scorsese (Hugo)
Steven Spielberg (War Horse)

Best Actor
George Clooney (The Descendants)
Leonardo DiCaprio (J. Edgar)
Jean Dujardin (The Artist)
Woody Harrelson (Rampart)
Brad Pitt (Moneyball)

Best Actress
Glenn Close (Albert Nobbs)
Viola Davis (The Help)
Elizabeth Olsen (Martha Marcy May Marlene)
Meryl Streep (The Iron Lady)
Michelle Williams (My Week with Marilyn)

Best Supporting Actor
Kenneth Branagh (My Week with Marilyn)
Albert Brooks (Drive)
Jonah Hill (Moneyball)
Brad Pitt (The Tree of Life)
Christopher Plummer (Beginners)

Best Supporting Actress
Bérénice Bejo (The Artist)
Jessica Chastain (The Help)
Janet McTeer (Albert Nobbs)
Octavia Spencer (The Help)
Shailene Woodley (The Descendants)

Best Original Screenplay
The Artist
Beginners
50/50
Midnight in Paris
Young Adult

Best Adapted Screenplay
The Descendants
The Help
Moneyball
Tinker, Tailor, Soldier, Spy
War Horse